{ 


HANEY'S  TRADE  MANUALS 


PAINTING. 


< 

<  , 
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INCLUDING  FULL  INSTRUCTIONS  IN 

FRESCO  PAINTING, 

A  PRACTICAL  TREATISE  ON 

CAR  PAINTING-, 

AND  MUCH  VALUABLE 

PRACTICAL  INFORMATION. 


( 


New  and  Enlarged  Edition* 


NEW  YORK  : 
■XCELSIOR    PUBLISHING  HOUS8, 

McKeon  &  Schofield,  Proprietors, 
110-112  WEST  26th  STREET. 


PRICE  FIFTY  CENTS. 


H>tgn,  Carnage 
©ecorattoe  $iatntmg 


Including  full  instructions  in  Fresco  Painting 

A  Practical  Treatise  on  Car  Painting 
And  much  valuable  Practical  Information 


NEW  AND  ENLARGED  EDITION 


NEW  YORK 
EXCELSIOR  PUBLISHING  HOUSE 
Iv  'KEON  &  SCHOFIELU.  Prop*. 


Parts  3,  4  and  5 
HOME  MECHANIC 
Copyright,  1897 
by 

T.  J.  CAREY  &  CO. 


THE  HOME  MECHANIC. 


18? 


Sign,  Carnage  anfr  §mrratik  |Jaratmg. 


SIG-N  PAINTING. 


Sign  Painting  is  an  art  of  a  very  exalted  character, 
and  when  brought  to  a  state  of  perfection,  viz.,  true  color- 
ing, fine,  accurate  divisions,  and  proportions  duly  balanced, 
it  is  entitled  to  rank  with  fresco  and  landscape  painting. 
Indeed,  I  know  of  nothing  more  pleasing  to  the  eye  than  a 
sign  where  all  the  requirements  are  brought  to  bear  in  per- 
fect unison — "  a  true  sense  of  color  in  contrast n — a  sweet 
harmony  of  tone,  a  chastenessof  composition,  upon  which  the 
senses  can  rest  with  entire  satisfaction.  These  are  the 
points  which  we  wish  the  reader  and  learner  to  attain,  and 
which  we  shall  strive  to  make  intelligible  and  clear.  Too 
many  men  learn  and  hoard  up,  like  very  misers,  and  too 
many  die  with  the  gainings  of  a  lifetime  locked  in  their 
bosoms,  rather  than  give  such  knowledge  to  benefit  those 
who  succeed  them.  And  it  may  reasonably  be  supposed 
that  the  arts  and  sciences  are  scores  of  years  behind  what 
they  would  have  been  but  for  this  very  selfishness. 

In  everyday  practice  how  often  do  we  see  attempts  made 
at  sign  painting  by  those  who,  through  ignorance  of  the 
first  and  most  essential  principles,  who  know  nothing  about 
the  true  method  of  preparing  grounds,  the  proper  propor- 
tioning of  the  letters,  the  divisions  of  distances,  parallels, 
contrasts  of  color,  and  other  requisites  to  a  good  or  at- 
tractive sign ;  how  often  have  we  seen  such  signs  attempted 
and  become  objects  of  ridicule,  even  among  people  who 
knew  nothing  of  the  business  themselves  ?  An  artistic 
sign  is  attractive  in  more  ways  than  one,  and  an  unartistic 
one  is  agreeable  to  none. 

Before  entering  upon  the  general  outline  of  procedure,  it 
will  be  well  to  give  an  outline  of  the  nature  and  properties 


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of  colors  employed  in  sign  painting,  together  with  the  oils, 
sizes,  varnishes,  &c. 

COLORS. 

Red  Vermilion. — This  is  a  bright  scarlet,  a  chemical 
compound  of  mercury  and  sulphur.  The  best  article  now 
in  the  market  is  of  English  manufacture. 

Red  Lead. — This  is  an  oxide,  of  orange  tinge,  very 
liable  to  turn  black. 

India  Red. — This  is  an  ochre,  brought  from  the  East 
Indies  ;  its  shade  inclines  to  purple.  It  works  freely  and 
stands  well. 

Colcother. — A  red  oxide  of  iron.  It  is  often  called 
"  Indian  Red,"  which  is  wrong.  It  is  obtained  by  the  dis- 
tillation or  calcination  of  sulphate  of  iron.  The  fine  color 
inclines  more  to  the  scarlet  than  the  purple.    It  stands  well. 

Venetian  Red. — A  native  ochre  combined  with  iron. 
When  well  washed,  to  free  it  from  its  sandy  particles,  is  a 
fine,  mellow,  pleasant  red.  It  is  very  useful,  and  stands  well. 

Red  Ochre. — Is  yellow  ochre  calcined  as  deep  as  the 
iron  it  contains  will  oxidize.  A  very  useful  color  for  shad- 
ing in  gold  signs,  etc. 

Carmine. — The  most  valuable  of  that  class  of  colors, 
being  the  heaviest  body-color  obtained  by  the  manufacture 
of  lake.  It  is  made  from  cochineal,  precipitated  by  solu- 
tion of  tin )  or  the  best  lake  from  madder,  by  Sir  H.  Engle- 
field's  process. 

Chrome  Yellow. — This  is  a  chromate  of  lead,  and  is 
prepared  by  the  following  process :  Take  a  solution  of 
chromate  of  potash  in  hot  water  and  add  another  solution 
of  acetate  of  lead  (sugar  of  lead).  If  wanted  very  pale 
use  a  little  nitric  acid ;  and  if  dark  shades  are  required,  use 
bi-carbonate  of  potash,  and  by  the  addition  of  a  few  drops 
of  muriatic  acid  you  can  deepen  the  tint  down  to  orange. 

Naples  Yellow. — This  is  prepared  by  lead  and  antimony. 
It  is  much  used  and  stands  tolerably  well,  although  of  but 
little  use  to  the  sign  painter. 

Yellow  Ochre. — This  color  is  a  native  earth.  Some 
specimens  are  very  bright,  and  all  are  durable  in  oil  and 
work  freely. 


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189 


a  jsrra  de  Sienna.— This  is  a  brighter  and  deeper  yel- 
low than  most  of  the  other  ochres.  It  is  found  principally 
in  Italy,  and  is  a  valuable  color. 

Turpith  Mineral. — This  is  brighter  in  color  than  any 
other  yellow,  except  king's  yellow.  It  works  like  vermilion, 
which  it  greatly  resembles  in  strength  of  color,  etc. 

King's  Yellow. — Is  a  combination  of  sulphur  and 
arsenic.  It  is  a  strong  poison,  but  has  a  deep,  rich  color, 
although  not  durable. 

Blues  are  principally  composed  of  sulphate  of  iron  and 
prussiate  of  potash.  These  blues  are  generally  called 
Prussian  blue,  Antwerp  blue,  celestial  blue,  etc.  They  are 
all  of  a  fugitive  character  in  oil. 

Ultramarine. — This  is  the  richest  and  brightest  of  all 
blues,  but  is  too  expensive  to  be  used  in  house,  sign,  or 
ornamental  painting,  costing  usually  about  twenty-five  dol- 
lars per  ounce.  But  a  very  good  and  cheap  substitute  has 
been  discovered,  manufactured  from  carbonate  of  soda, 
sulphur,  cobalt  and  kaoline.    It  works  well  and  is  durable. 

Cobalt. — This  is  the  oxide  of  cobalt,  but  its  manufac- 
ture is  too  complicated  to  describe  in  this  little  work.  It 
is  a  beautiful  shade  of  blue,  and  both  works  and  stands  well. 

G  KEENS. 

Brunswick  Green — is  copper  dissolved  in  a  solution 
of  muriate  of  ammonia.  It  is  a  good,  pure  green  and 
stands  well. 

Chrome  Green. — Green  chromium  is  a  compound  of  bi- 
chromate of  potash  and  flower  of  sulphur,  but  the  manu- 
facture is  too  intricate  to  find  a  place  here.  It  is  a  rich  and 
splendid  green.  Chrome  green,  formed  by  a  union  of 
chrome  yellow  and  Prussian  blue,  can  be  made  of  any  shade 
by  using  more  or  less  of  one  or  the  other  of  the  colors. 
They  are  very  durable. 

Verdigris. — Copper  reduced  by  a  vegetable  acid.  It 
can  be  used  by  the  addition  of  a  little  chrome  yellow.  It 
stands  well,  and  is  a  good  color  for  shading,  etc.,  being 
transparent. 

A  beautiful  transparent  green  can  be  made  as  follows  : 
Pulverize  sugar  of  lead  and  blue  vitriol  (sulphate  of  cop- 


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per),  then  put  the  two  dry  powders  together ;  mix  them 
well  with  the  knife  on  a  marble  slab  or  glass.  The  vitriol 
and  lead,  more  or  less  of  either,  varies  the  color,  making  ;t 
brighter  or  darker.  This  is  a  beautiful  green  for  glazing 
gold,  or  anything  requiring  a  transparent  tint.  It  is  durable. 

Scheel's  Green. — Arseniate  of  potash  and  acetate  of 
copper.  Beautiful,  but  poisonous,  and  should  at  all  times 
be  used  with  extreme  caution. 

Emerald  Green. — A  composition  of  yellow  arsenic  and 
verdigris.  A  most  malignant  poison.  I  have  known  paint- 
ers to  spit  blood  after  merely  mixing  and  grinding  forty  or 
fifty  pounds  of  that  mineral,  and  the  taste  would  not  leave 
the  mouth  for  days.  Avoid  such  a  color  as  you  value  your 
health. 

WHITES. 

Flake  White. — The  best  formerly  came  from  Italy, 
where  the  acid  of  the  grape  was  employed  in  the  manu- 
facture, instead  of  commou  acetic  acid.  It  is  a  pure  white 
but  liable  to  change.  The  flake  white  made  in  England 
and  Germany  retains  its  purity  to  the  end. 

Kremmtze  White. — This  is  simply  white,  corroded  in 
a  small  scale  in  iC  chambers "  instead  of  being  done  in 
u  stacks,"  the  old  Dutch  method.  It  must  consequently  be 
free  from  any  sulphate  of  hydrogen  or  ammonia,  and  hence 
its  superiority  over  the  others. 

Zinc  White. — An  oxide  of  that  metal,  the  result  o' 
combustion,  commonly  called  (i  chemical  wool."  It  is  a 
beautiful  white,  not  quite  so  full  in  body  as  white  lead,  but 
possessing  no  affinity  for  either  sulphide  of  hydrogen  or 
ammonia,  or  any  other  of  the  obnoxious  gases.  It  retains 
its  brilliant  whiteness  longer  than  any  white  pigment  known, 
with  the  exception  of  a  white  prepared  from  antimony, 
which  has,  however,  never  as  yet  become  an  article  of  com- 
merce. 

BLACKS. 

Lamp  Black. — The  soot  collected  from  burning  animal 
or  vegetable  matter.  It  should  always  be  calcined  before 
using,  as  it  will  then  dry  better  and  make  better  color. 


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191 


Ivory  Black. — This  beautiful  black  is  prepared  by  the 
calcination  of  ivory  and  bones  in  close  vessels.  It  is  the 
purest  and  most  valuable  color  in  the  sign  painting  busi- 
ness. 

BROWNS. 

Umber. — The  Turkey  umber  is  the  best ;  the  English 
is  rated  second.  They  are  good  drying  colors.  In  theif 
raw  state  they  also  class  as  olive  colors,  but  when  calcined 
are  a  fine,  rich  brown.  They  are  good  and  durable,  and 
also  very  useful  to  a  sign  painter. 

Terra  be  Sienna. — When  burned  this  is  a  very  rich 
color,  much  in  repute  with  fresco,  sign,  and  decorative 
painters.    It  keeps  its  color  well. 

Purple  Brown. — This  is  composed  of  prussic  acid  with 
the  oxide  of  copper.  It  is  a  very  fine  color,  and  produces 
with  white  very  fine  lilac  tints.  It  is  also  a  good  grounding 
color,  and  stands  well. 

Asphaltum. — This  is  a  bituminous  substance,  of  a  deep, 
rich  brown  color  5  transparent,  and  a  good  glazing  or  shad- 
ing gold  or  any  other  work.  It  works  well  with  boiled  oil 
or  turpentine.  It  is  found  on  the  shores  of  the  Dead  Sea 
and  in  Judea. 

Note. — I  would  here  mention  the  necessity  of  procuring 
good,  pure  linseed  oil.  This  is  a  very  essential  point,  as 
many  of  the  oils  in  the  market  are  adulterated  with  fish 
and  animal  oils,  and  are,  therefore,  entirely  unfit  for  use. 

DRYERS. 

Patent  dryers  act  very  well,  if  pure,  but  as  they  are  all 
more  or  less  adulterated  with  whiting,  which  imparts  a 
toughness  which  destroys  their  fluidity  or  flowing  qualities, 
I  would  advise  the  artist  to  make  his  own. 

Grind  either  sugar  of  lead  or  sulphate  of  zinc  (white 
vitriol)  in  raw  linseed  oil,  or  equal  quantities  of  both  to- 
gether. One  teaspoonful  will  dry  from  twenty  to  twenty- 
five  pounds  of  color.  This  dryer  will  not  injure  the  most 
delicate  color,  even  the  purest  white. 


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DRYING  JAPAN. 

This  dryer,  if  of  a  proper  quality  and  light  in  color,  a 
teaspoonful  will  dry  from  twenty-five  to  thirty  pounds  of 
color. 

SMALTS. 

Smalts  of  various  colors  are  required,  and  I  would  hetv 
state,  upon  my  own  experience,  that  they  can  be  purchased 
better  and  cheaper  than  they  can  be  manufactured.  I  would 
advise  ail  painters  to  purchase  at  any  respectable  color 
store,  where  their  own  experience  has  given  them  confidence. 

A  few  more  necessaries  are  required,  such  as  a  slab  and 
muller  of  white  marble,  a  pallet  knife,  pots,  paint-brushes, 
etc.,  etc.  Let  the  brushes  range  in  No.'s  from  2  to  300. 
Also  a  few  tools,  commonly  called  sash-tools,  from  No.  4 
to  8.  Flat  French  tools,  various  sizes ;  a  few  round  tools, 
bound  in  tin ;  also  a  stock  of  sable  tools,  short,  medium, 
and  long,  to  suit  all  subjects  that  may  occur. 

Camel-hair  tools  and  pencils  are  also  good,  and  gener- 
ally lay  the  color  finer  than  sable.  A  bench  is  also  re- 
quired; an  easel ;  a  set  of  pallets,  of  hard  wood  or  ivory  ; 
a  mall  stick  (a  small  slender  rod  of  firm  wood,  with  a  ball 
of  cotton  at  one  end  covered  with  chamois  skin),  to  support 
the  right  hand.  Some  artists  discard  the  mall  stick  alto- 
gether, as  it  hinders  a  perfect  freedom  of  the  pencil,  but  it 
is  best  for  beginners,  or  any  one  slightly  nervous. 

A  rinsing  cup  is  also  necessary  ;  a  small  tin  cup,  made 
to  hold  about  a  gill.  Have  a  small  cup  made  to  fit  into 
the  large  one — about  one-third  as  deep — perforated  on  the 
bottom  with  small  holes  ;  fill  the  large  cup  with  turpentine 
until  it  reaches  over  the  perforated  bottom  of  the  inner  cup; 
rinse  the  pencils  in  this,  and  the  refuse  color  from  them  will 
settle  to  the  bottom  of  the  large  cup,  leaving  the  turpen- 
tine always  clear.  They  should  afterward  be  washed  in 
soap  and  water. 

Having  advanced  thus  far,  lay  in  a  small  stock  of  oil, 
turpentine,  japan,  etc.,  etc.,  a  small  keg  of  the  best  English 
white  lead  ("  B.  B."  brand)  and  then  select  a  suitable  board 
for  a  sign,  and  commence 


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193 


FIRST  OPERATIONS. 

There  are  various  theories  respecting  the  quality  of  wood 
to  be  used,  as  also  in  relation  to  the  particular  "cut"  of  the 
log.  Some  contend  that  the  center  cut  is  less  liable  to 
warp  and  u  shake/7  owing  to  the  grain  running  squarely 
through.  It  must  be  acknowledged  that  this  theory  has 
philosophy  in  it,  and,  from  my  own  experience,  I  admit  that 
it  is  a  good  board.  But  the  outside  of  a  log  is  best,  for  two 
reasons,  viz.  : 

In  the  first  place,  the  outside  cut  has  been  more  exposed 
and  consequently  more  thoroughly  seasoned.  Second,  the 
grain  runs  through  more  upon  an  angle,  and,  therefore,  not 
so  liable  to  split,  shake,  or  warp. 

You  must  provide  yourself  with  a  can  of  shellac  varnish, 
which  is  simply  shellac  dissolved  in  alcohol,  and  reduced  to 
a  proper  consistency  to  spread  easy.  The  use  it  is  most 
often  put  to  is  covering  knots  and  sappy  places  that  may 
show  after  the  first  coat  of  grounding. 

Another  and  a  better  way  to  use  it  is,  to  give  the  whole 
board  a  flowing  coat  of  it,  thus  making  the  whole  surface 
equal,  and  kills  any  resinous  spots,  discolorations,  etc.  The 
best  way  to  serve  knots,  however,  is  to  bore  them  out  en- 
tirely with  a  center-bit,  boring  a  trifle  outside  of  the  knot> 
and  an  eighth  of  an  inch  or  so  in  depth.  This  being 
stopped  with  stiff  putty,  effectually  disposes  of  all  trou- 
ble arising  from  knots. 

It  is  a  good  idea  to  have  a  little  "  stout "  shellac  on  pur* 
pose  for  small  knots,  as  before-mentioned,  for  in  many  in. 
stances  it  will  completely  obliterate  them.  Make  your  own 
shellac,  if  possible,  as  it  can  be  more  relied  upon  than  the 
most  that  is  in  the  market,  being  generally  adulterated 
with  soft  gum.  It  not  unfrequently  occurs  that  the  tur- 
pentine and  oil  mixes  with  such  shellac,  after  dissolving  It 
(provided  it  is  not  good),  but  if  you  make  it  of  shellac  alone? 
you  may  depend  upon  its  quality. 

When  your  shellac  is  dry  mix  up  as  much  white  lead  as 
you  require,  beating  it  up  in  oil,  stiff ;  then  add  yourdryers, 
in  about  the  same  proportions  as  already  given  ;  then  add  a 
little  turpentine,  just  enough  to  reduce  it  to  the  proper 
thickness  ;  then  give  your  sign-board  a  good,  even,  full  coat, 


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When  this  is  dry  rub  it  down  with  pumice-stone,  so  that 
the  surface  will  be  perfectly  even  and  free  from  all  plane- 
marks.  Avoid  sand-paper,  for  it  never  cuts  down  a  surface 
so  well  as  pumice-stone,  although  it  will  do  for  ordinary 
work.  Then  putty  up  all  holes,  etc.,  with  good,  stiff  putty 
(common  putty  and  white  lead  mixed,  is  good). 

The  second  coat  may  be  similar  to  the  first,  only  let 
there  be  less  oil  in  it.  The  third  coat  must  contain  still 
less  oil  5  say  one-third  oil  and  two-thirds  turpentine.  The 
fourth,  or  last  coat,  must  contain  very  little  oil ;  dry  with 
drying  japan. 

I  have  found  by  years  of  experience  and  observation  that 
too  much  oil  is  the  cause  of  the  blistering  and  scaling  so 
frequently  seen  upon  sign-boards.  The  fact  is  very  patent, 
for,  as  in  coach  painting,  the  more  oil  used  the  more  con- 
traction and  expansion  5  and,  consequently,  no  other  method 
of  mixture  will  stand  all  exposures,  summer,  winter,  sun- 
shine, and  rain,  so  well  as  the  one  I  have  given. 

As  we  now  proceed  to  consider  the  most  suitable  colors 
and  tints  for  the  various  grounds,  etc.,  it  will  be  necessary 
to  enter  into  the  philosophy  of  contrasts  and  harmonies, 
force  of  color,  so  as  to  be  able  to  select  proper  colors  for  the 
work  that  is  to  follow. 

Contrast  in  its  first  element  may  be  called  black  and 
white,  and  this  is  confined  to  light  and  shadow  and  the  dis- 
position of  lines.  Though  both  are  necessary  in  works  of 
color,  I  will  take  it  for  granted  that  you  understand  them 
already,  and  so  pass  at  once  to  contrast  of  colors  which 
give  the  principal  charm  to  painting. 

As  the  present  object  is  to  avoid  dullness  we  shall  strive 
to  obtain  the  opposite — brightness,  and  err,  if  at  all,  on  the 
credit  side,  leaving  mellowness  of  tone  to  follow  as  a  natur- 
al result  of  an  educated  eye. 

Force  or  power  does  not  consist  in  strong  and  gay  col- 
ors, but  is  entirely  the  result  of  proper  combinations  and 
contrasts.  Two  contrasting  tones  must  be  brought  together 
md  then  the  power  of  each  will  be  felt. 

Thus,  if  our  grounds  are  warm  and  yellow  tints,  we 
should  have  blues  and  purples  in  contrast. 

If  our  grounds  are  cool,  then  reds  and  yellows  are  a  fine 
contrast.    The  three  principal  contrasts  are  Hue  opposite 


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195 


to  orange,  red  to  green,  yellow  to  purple,  and  by  carrying  out 
this  principle  of  opposition  of  color  throughout  the  scale, 
you  will  obtain  an  endless  variety  of  contrasts. 

Remember  this,  a  color  and  its  opposite  naturally  increase 
as  they  approach,  but  when  once  they  mingle,  they  destroy 
and  neutralize  each  other.  To  give  a  shadow  to  a  letter, 
the  student  must  be  cautioned  not  to  use  merely  a  darker 
shade  of  color,  either  of  the  letter  or  of  the  ground,  for 
that  would  only  result  in  a  tame,  dull  effect.  Many  carry 
this  principle  into  sign  painting,  and  thus  lose  the  advan- 
tage of  contrast  that  an  opposite  color  would  give. 

The  shadow  is  to  represent  a  certain  modification  of  at- 
mospheric effect,  and  will,  in  almost  every  instance,  partake 
of  a  natural  tone  or  harmony  of  contrast. 

For  instance,  let  a  small  block  of  wood  be  placed  upon 
a  sign  5  paint  the  block  the  color  you  want  for  your  letters 
place  it  so  as  to  throw  a  shadow  either  to  the  right  or  the 
left,  from  the  sun,  and  observe  the  particular  tint  of  the 
shadow  so  cast.  You  will  observe  a  compound  effect  or 
tone,  proceeding  both  from  the  block  and  from  the  sign,  a 
natural  blending  of  the  two.  This  gives  you  a  true  con- 
trast always  in  harmony. 

Contrasts  in  great  variety  can  also  be  had  upon  the  prin- 
ciple of  force  of  color,  but  there  must  be  a  distance  left 
between  the  letter  and  the  shadow,  to  relieve  it,  otherwise 
the  strong  contrasts  would  appear  harsh  and  hard.  Always 
bear  in  mind  that  a  sign  is  not  like  a  picture,  to  be  exam- 
ined at  short  distances,  but  generally  from  fourteen  to  forty 
and  fifty  feet  from  the  eye ;  consequently  the  colors  used 
must  possess  sufficient  force  (although  in  harmony)  to  have 
effect  at  such  a  distance. 

The  same  idea  is  the  point  to  be  gained  in  scenic  repre- 
sentations and  a  study  of  effect  and  force  of  color,  as  seen 
m  stage  scenery,  is  a  good  one  for  either  student  or  professor. 

As  a  general  thing  you  will  find  that  the  reds  require  a 
shadow  of  a  purplish  or  dull  brown ;  in  some  cases,  where 
the  ground  admits  of  it,  almost  positive  black. 

And  in  yellows,  of  the  umber  shade,  you  will  require  a 
gradation  of  golden  hues  for  your  first  shade,  ranging  down 
to  nearly  black. 


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RULES  FOR  CONTRASTS. 

Positive  and  sweet  contrasts,  such  as  the  following,  may 
be  taken  as  a  general  idea : 

Light  pink  upon  a  white  ground  can  be  best  shadowed  by 
a  warm  brown. 

Light  grays  and  drab  grays  shadow  with  rich  browns. 

For  greens,  reddish  brown  shadow. 

White  to  flesh-color,  rich  purple  shadows. 

As  a  standard  rule,  warm  shadows  to  cool,  light  colors ; 
and  cool  shadows  to  colors  of  a  warm  tint. 

Avoid  the  use  of  greenish  blues  and  greenish  yellows ) 
they  both  appear  unsatisfactory  and  sickly. 

Blue  and  yellow  both  become  agreeable  as  they  incline 
to  red.  Red  becomes  rich  as  it  inclines  to  blue,  and  bril- 
liant as  it  inclines  to  yellow. 

A  shade  of  purple  and  orange  are  agreeable,  but  no 
greens  except  those  that  incline  to  yellow. 

All  tertiary  tints,  such  as  citron,  olive,  russet,  etc.,  are 
agreeable,  and  have  value  by  contrast  of  their  own  shades. 

HARMONY. 

It  may  be  as  well,  before  leaving  the  subject  of  con- 
trasts, to  point  out  how  far  harmony  affects  the  sign  painter, 
although  its  principal  use  has  reference  to  the  finished  work. 

Harmony  is  the  art  of  uniting  two  extremes  of  light  and 
shadow,  or  of  warm  and  cool  colors,  by  the  introduction  of 
such  intermediate  tones  as  will  subdue  the  crudeness  of 
effect,  caused  by  the  use  of  opposites  alone.  By  intro- 
ducing half  tints  which  partially  unite  the  dark  masses  of 
color,  when  placed  between  them,  their  relation  to  each 
other  becomes  toned  down,  and  in  a  measure  deprived  of 
this  rudeness. 

Thus  the  primary  colors,  red,  yellow,  and  blue,  are  op- 
posed or  in  contrast  to  the  secondaries,  green,  purple,  and 
orange,  when  standing  together,  but  become  united  and 
harmonized  by  the  friendly  introduction  of  a  neutral,  placed 
between  them. 

This  is  the  case  with  the  compound  tints,  however  far 


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removed  from  the  primary  colors,  the  qualities  of  color 
being  always  brought  out  by  harmonious  opposition. 

Harmony,  then,  consists  in  using  such  materials  between 
these  colors  or  tones  that  are  opposed  as  may  diminish  the 
violence  of  the  contrast,  and  conceal  the  aim  of  the  painter 
in  bringing  them  together.  If  this  is  not  done,  the  attempt 
and  not  the  deed  will  confound  not  only  the  painter  but  the 
reader  of  his  sign. 

Harmony,  then,  is  simply  that  expedient  which  the  force 
of  contrasts  compels  us  to  adopt,  and  is  useful  to  this  ex- 
tent— that  by  it  we  secure  that  force  without  which  our 
work  would  be  either  too  tame  or  too  harsh.  It  is  really 
the  golden  link  in  composition. 

In  describing  the  mixtures  of  colors  and  tints,  all  that  is 
necessary  is  to  exercise  due  caution  in  applying  them  to 
your  lead  or  zinc  that  you  have  beat  up  in  oil,  being  care- 
ful not  to  mix  too  thin,  for  by  so  doing  you  will  find  it  a 
difficult  matter  to  bring  your  color  to  a  true  assimilation. 

As  some  colors  are  light  and  others  heavy,  you  will  see 
the  necessity  of  keeping  your  color  stiff ;  and  always  thin 
your  tin  ting-colors ;  and  always  put  in  the  color  which  is  to 
predominate,  or  give  the  general  tone,  first,  and  until  you 
see  that  you  have  enough,  then  add  the  others,  if  any,  to 
the  mixture  until  you  have  obtained  the  required  shade. 

TABLE  OF  TINTS. 

Gray. — White  and  lamp  black. 

Buff. — White,  red,  yellow,  and  a  little  black. 

Pearl. — White,  ultramarine  blue,  and  carmine. 

Orange. — Yellow  and  red. 

Violet. — White,  ultramarine  blue,  and  carmine. 

Purple. — Same  as  above,  only  in  different  quantities. 

Gold. — White,  stone  ochre,  and  a  little  burnt  umber. 

Oliye. — White,  yellow,  black,  and  red. 

Chestnut. — Red,  black  and  yellow. 

Flesh. — Vermilion,  white,  and  yellow. 

Fawn. — White,  red,  yellow,  burnt  umber. 

Drab. — White,  yellow,  red,  burnt  and  raw  umber. 

Do.  — Ochre,  burnt  sienna,  black. 

Do,  — Any  variety  can  be  obtained  by  these  colors. 


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BROWN  Green. — Chrome  green,  yellow,  black,  and 
red. 

Pea  Green. — Chrome  green  with  white  lead. 
Rose  Tint. — Carmine  and  white,  or  madder  lake  and 
white. 

Copper. — Red,  chrome,  yellow,  and  black. 

Lemon. — Pale  chrome  and  white. 

Claret. — Vermilion  and  blue. 

Dote  Color. — White,  vermilion,  blue,  yellow. 

Pinks. — White,  vermilion,  madder  lake  or  carmine. 

Cream. — White  and  pale  yellow  ochre. 

Salmon. — White,  light  red,  and  yellow. 

Straw. — Chrome  or  yellow  ochre  and  white. 

Lilac. — Carmine,  blue,  and  white. 

These  constitute  the  principal  tints  in  general  use,  but 
by  practice  in  composition,  a  great  variety  more  can  be  ob- 
tained. 

Having  proceeded  thus  far  let  us  now  turn  our  attention  to 
LETTERS, 

their  proportion,  etc.,  and  take  as  an  alphabet  the  most 
beautiful  one  the  world  ever  knew — the  Roman. 

The  Roman  Italics  differ  from  the  capitals  only  by  being 
slightly  inclined  from  a  perpendicular,  and  this  inclination 
should  not  vary  much  from  an  angle  of  sixty  degrees,  al- 
though natural  taste  has  much  to  do  with  governing  it. 

The  letter  A  is  generally  formed  with  more  faults  than 
any  other  in  the  alphabet,  and  in  nine  cases  out  of  ten  it  is 
occasioned  by  spreading  its  angles  too  much.  It  should 
not  be  wider  than  H  or  N,  hair  lines  included. 

The  upper  part  of  B,  E,  F,  and  R  should  take  up  a  par- 
ticle less  space  on  the  main  line  of  each  letter  than  the 
lower  part,  and  the  upper,  horizontal  projecting  curve  of 
B  and  R  should  in  the  same  proportion  be  a  trifle  the 
smallest. 

The  connecting  bar  of  the  letter  H  should  be  a  trifle 
above  the  center  of  the  letter. 

The  perpendicular  width  of  the  curve  for  P  should  take 
up  just  half  the  length  of  the  main  limb  of  that  letter. 

The  bottom  curve  of  J  is  allowed  a  handsome  sweep,  so 


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199 


that  the  projecting  horizontal  line  at  its  top  and  its  curve 
will  occupy  the  same  space  as  C  or  S. 

The  upper  curve  of  S  should  be  smaller  than  the  lower 
curve,  and  for  this  reason — the  bottom  of  all  letters  should  as 
near  as  possible  form  the  base  of  their  apparent  structure. 

The  middle  top  line  of  W  is  dispensed  with,  and  that 
center  limb  terminates  in  a  peak  or  point. 

To  form  a  curve  to  the  last  of  R  is  preferable  to  a  flat, 
straight  termination,  provided  the  curve  be  made  full,  and 
the  letter  seems  to  stand  firm. 

The  last  limb  of  G  should  terminate  at  seven-sixteenths 
of  its  hight,  or  a  little  less  than  half  its  hight. 

Eight  letters,  B,  D,  E,  G,  0,  P,  Q,  and  T,  will  oc- 
cupy the  same  space  from  left  to  right  as  they  do  in 
hight. 

Six  letters,  C,  F,  J,  L,  S,  and  Z,  will  take  one-sixteenth 
less  width  than  hight. 

M  and  W,  one-sixteenth  more  width  than  hight. 
I,  one-half  its  hight  wide. 

If  two  lines  are  drawn  upon  a  sign  or  sheet  of  paper, 
say  half  an  inch  apart,  and  eight  compartments  set  off, 
half  an  inch  square,  B,  D,  E,  G,  0,  P,  Q,  and  T,  each 
will  fill  one  square  and  be  well-proportioned  letters. 

Then  divide  off  six  compartments,  one-sixteenth  part 
narrower  than  they  are  high,  for  C,  F,  J,  L,  S,  and  Z. 

Then  make  nine  compartments,  one-sixteenth  wider  than 
they  are  high,  for  A,  H,  K,  N,  R,  U,  V,  X,  and  Y. 

For  M  and  W,  allow  one-sixteenth  more  width  than 
hight )  for  I,  one-half  its  hight ;  for  &,  one-eighth  more 
width  than  hight. 

These  proportions  will  form  a  very  graceful  letter,  but 
they  can  be  either  compressed  or  extended  from  this  rule  so 
as  to  suit  both  taste  and  space. 

The  small  letters  are  more  difficult  to  form  than  the 
large  ones.  The  main  body  of  thirteen  letters,  viz.,  a,  b, 
d,  g,  h,  r,  n,  p,  q,  u,  v,  x,  and  y,  will  occupy  a  square  each. 

The  letters  c,  e,  o,  r,  s,  t,  and  y,  require  one-sixteenth 
less  width  than  hight ;  i  and  1,  one  half  their  hight  in 
width. 

These  relative  proportions  are  given  without  the  pro- 
jecting limbs  above  and  below  their  main  body,  which  pro- 


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jections  should  be  one-half  the  hight  of  the  main  body  of 
the  letter. 

The  proportions  for  Italics  are  as  follows : 
Seven  capitals,  C,  G,  J,  E,  0,  Q,  and  8,  occupy  a 
square. 

Sixteen  letters,  A,  B,  D,  E,  F,  H,  X,  N,  P,  R,  T,  U,  V, 
T,  Z,  require  one-sixteenth  more  width  than  hight ;  M, 
three-sixteenths  wider  than  high  ;  W,  two-sixteenths  wider  i 
than  high ;  and  I,  one-sixteenth  less  ;  with  a  given  angle  of 
from  sixty  to  sixty-three  degrees. 

In  the  small  alphabet,  seven  letters,  viz.,  a,  i,  k,  r,  s,  t, 
v,  will  occupy  a  square  each,  subject  to  the  same  rule  re- 
garding their  projecting  parts  as  given  for  the  others,  the 
small  Roman  letters. 

Thirteen  letters,  b,  d,  f,  g,  h,  j,  n,  p,  q,  u,  x,  y,  z,  will 
occupy  one-quarter  more  width  than  hight ;  m,  two-fifths 
more  width  than  hight. 

It  may  be  observed  here  that  the  block-letter  alphabet 
is  of  about  the  same  proportion  of  hight  and  width  as  the 
Roman  capitals  do,  except  in  extra  full  lettering,  for  which 
proportions  the  additional  thickness  of  the  body  of  the  letter 
must  be  added  to  the  rules  given  in  relation  to  the  Roman. 

All  these  letters  are  only  varieties  of  those  given  above, 
and  are  left  to  the  taste  of  the  painter.  Practice,  with  the 
rules  already  given,  will  unfold  much  that  cannot  be  writ- 
ten, and  much  that  can  only  be  attained  by  experience,, 

Practice  what  has  thus  far  been  given,  and  then  we  will 
go  one  degree  higher,  to  the  consideration  of 

GILDING. 

Before  considering  this  branch  of  the  sign-painter's  art 
it  will  be  best  to  treat  upon  the  various  sizes  in  general  use 
among  them.  And  here  I  wish  to  guard  the  uninitiated 
against  the  use  of  gold  size,  sold  at  most  of  the  color  stores. 
They  are  generally  got  up  from  recipes  published  by  men 
who  are  totally  ignorant  of  the  nature  and  properties  of  a 
permanent  gilding  size.  My  own  experience  amply  con- 
firms this  assertion. 

Let  every  painter  make  his  own  size,  and  then  he  will  be 
less  likely  to  be  a  stranger  to  what  he  wants.    If  it  be  too 


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201 


slow  in  drying,  or  if  it  dries  too  quickly,  he  will  be  able  to 
know  what  is  required  to  make  it  right. 

An  excellent  size  is  made  by  putting  boiled  oil  in  a  good 
stone  pot ;  place  it  upon  a  slow  fire,  and  let  it  rise  to  such 
a  heat  as  nearly  to  ignite ;  then  with  a  match  or  a  bit  of 
lighted  paper  set  fire  to  it,  and  let  it  burn  fur  a  few  minutes, 
so  as  to  thicken ;  then  take  a  piece  of  cloth  and  cover  the 
pot,  to  put  out  the  flame,  and  it  will  trhen  be  like  syrup  or 
thin  tar. 

This  done,  strain  it  through  a  silk  stocking  or  handker- 
chief into  a  bottle  and  keep  it  closely  corkecU  ,When  you 
wish  to  use  it,  thin  it  with  turpentine,  bu*  :  -  ireful  and 
not  use  it  too  thin. 

ANOTHER  RECIPE. 

Another  good  size  for  gilding  may  be  made  in  this  way  : 
Procure  some  pure  old  drying  oil,  the  older  the  better; 
grind  into  it  some  ochre  and  a  little  of  the  best  quality  of 
red  lead  ;  then  thin  it  to  a  proper  consistency  ;  form  your 
letters  carefully,  laying  it  very  even  and  thin,  and  let  your 
work  stand  until  so  dry  as  only  to  have  sufficient  "  tack  " 
to  hold  your  leaf.  Apply  the  leaf  with  a  gilder's  tip 
carefully  and  lay  it  smooth  with  a  flat  camel-hair  brush 
or  a  ball  of  fine  cotton  wool,  but  do  not  brush  off  all 
the  superfluous  gold  until  you  are  sure  that  the  under  size 
is  perfectly  dry  and  hard.  This  gives  the  gold  its  full 
brilliancy  and  stands  the  weather  well. 

QUICK  DRYING  SIZE. 

Take  a  little  good,  quick-drying  copal  varnish;  add  to  it 
a  small  quantity  of  your  old  boiled  drying  oil,  just  enough 
to  give  it  "  tack,"  and  when  dry  enough  lay  your  leaf  as 
before  directed. 

A  SIZE  KNOWN  TO  BUT  FEW. 

Take  one  pound  of  good,  pure  drying  oil  ;  put  it  in  a 
metal  pot  with  a  cover;  slowly  add  to  this,  after  it  has 
come  almost  to  a  boiling  point,  four  ounces  of  pure  gum 
animi  (not  copal ;  gum  dealers  are  of  the  opinion  generally 


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that  animi  and  copal  are  one  and  the  same,  but  such  is  not 
the  case).  Have  your  animi  reduced  to  a  fine  powder ; 
take  it  upon  the  point  of  your  pallet-knife  and  put  it  in  cau- 
tiously, little  by  little,  until  you  have  it  all  in,  allowing 
time  to  dissolve,  and  all  the  while  keep  stirring  the  mixture. 
Boil  to  the  consistency  of  tar,  and  while  warm  strain  ify 
through  a  piece  of  silk  into  a  heated,  wide-mouthed  bottle;1 
keep  well  corked,  and  when  required,  thin  with  turpentine 
'and  mix  thoroughly.  If  you  grind  a  little  vermilion  with 
this  size  it  will  show  you  what  you  are  doing  when  using 
it. 

This  size  will  gild  on  glass,  china,  metal,  signs,  and 
nearly  everything,  and  if  properly  made  has  no  equal ;  being 
more  durable,  it  gives  more  luster  to  the  gold  than  any  other 
size,  and  has  the  very  singular  property  of  retaining  the 
"  tack  "  longer  than  any  size  known. 

This  is  the  "  secret  size,"  used  by  the  best  artists  in  Lon- 
don and  Paris,  and  the  one  used  by  the  justly  celebrated 
japanners  of  Birmingham,  who  produce  the  finest  work  in 
decoration  to  be  found  in  the  world's  market. 

The  artist  must  be  furnished  with  a  gilder's  cushion,  with 
parchment  back  and  ends  ;  a  knife  to  cut  his  gold ;  a  "  tip," 
or  brush,  to  lift  his  leaf  with  ;  a  ball  of  cotton  wool,  and  a 
flat  camel-hair  brush  to  clean  off  with. 

Take  a  little  clean  tallow  on  the  back  of  the  left  hand, 
and  then  draw  the  "  tip  "  quietly  over  the  tallow  and  it  will 
receive  enough  to  take  up  the  gold.  Then  place  it  lightly 
upon  the  work,  to  which  it  will  adhere  readily,  and  so  con- 
tinue until  all  your  sized  work  has  been  covered  with  it. 

The  next  thing  to  do  is  to  pad  it  down  lightly  with  your 
cotton  ball,  being  careful  to  omit  no  portion  of  it,  for  if  a 
mistake  occurs  on  the  first  going  over,  you  will  find  it  very 
difficult  to  mend  it  afterward.  So  be  particular  in  your 
work  and  miss  no  part  of  it.  As  before  stated,  do  not 
thoroughly  brush  off  your  work  until  entirely  dry. 

Always,  when  gilding,  try  your  size  upon  a  piece  of 
painted  board  or  glass,  in  order  to  determine  accurately  the 
length  of  time  it  requires  to  dry.  If  it  dries  too  quick,  add 
some  oil.  If  you  size  to-day  and  gild  to-morrow,  and 
should  you  find  the  size  too  dry  in  the  morning,  you  will 
have  to  add  a  little  old.  fat,  raw  linseed  oil,  as  this  tempers 


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203 


it  so  that  you  can  set  your  own  time  for  the  gilding.  A  few 
experiments  in  this  connection  will  enable  you  to  master  and 
regulate  the  nature  and  operation  of  size 

FOR  A  SIZE  EXPOSED  TO  THE  WEATHER. 

One  thing  has  been  proved  by  experience,  that  is,  that; 
no  gilding  exposed  to  the  extremes  of  summer  and  winter,' 
wet  and  dry,  cloud  and  sunshine,  should  ever  be  varnished. 

The  bare  gold,  if  good,  and  on  good  size,  will  stand  bet- 
ter, change  less,  retain  its  luster  longer,  with  less  liability 
to  u  dulce,'?  or  crack,  than  when  varnished,  although  done 
with  the  best  copal  varnish  ever  made. 

I  have  seen  a  sign  done  with  gold,  upon  a  black  ground, 
that  had  stood  the  weather  forty  years!  The  board  had 
given  way  to  the  effects  of  the  weather,  and  had  fallen 
away  in  many  places,  leaving  the  letters  standing  out  bold 
in  good  form  and  well  preserved.  So  much  for  good  size 
and  no  varnish. 

DRYING  OILS. 

It  may  not  be  out  of  place  to  give,  at  this  point,  a  few 
formulas  for  preparing  drying  oils,  as  many  of  the  oils  sold 
at  the  stores  are  of  a  spurious  character,  totally  unfit  for 
the  development  of  good  work. 

A  fine,  pale  drying  oil  can  be  made  as  follows  :  Take  eight 
pounds  of  linseed  oil,  one  ounce  of  calcined  white  lead,  one 
ounce  of  yellow  acetate  of  lead  (also  calcined  slightly),  one 
ounce  of  sulphate  of  zinc  (white  vitriol),  twelve  ounces  of 
vitrious  oxide  of  lead  (litharge),  and  one  head  of  garlic. 
When  the  dry  substances  are  pulverized  mix  them  with  the 
garlic  and  oil  over  a  fire  hot  enough  to  keep  the  garlic  and 
oil  in  a  state  of  ebullition  ;  continue  the  process  until  the 
oil  ceases  to  throw  off  scum,  and  until  it  assumes  a  reddish 
color  and  the  head  of  garlic  becomes  brown. 

A  pellicle  will  then  be  formed  upon  the  surface  of  the 
mixture,  which  indicates  that  the  operation  is  completed. 

Take  the  vessel  from  the  fire,  and  the  pellicle  being  pre- 
cipitated by  rest,  will  carry  with  it  all  the  parts  which  ren- 
dered the  oil  fat.    When  the  oil  has  become  clear,  separata 


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it  from  the  deposit  and  place  in  wide-mouthed  bottles,  where 
it  will  completely  clarify  itself  in  a  short  time  and  im- 
prove in  quality. 

The  oil  will  be  lighter  in  color  if  the  dryers  are  put  into 
a  bag  and  suspended  by  a  cord  fastened  to  a  stick  laid  across 
the  mouth  of  the  bottle  ;  but  you  must  use  more  dryers  if 
you  wish  to  adopt  this  method ;  in  bther  respects  operate 
as  described. 

To  manufacture  drying  oil  without  heat :  When  linseed 
oil  is  carefully  agitated  with  white  vinegar  of  lead  (tribasic 
acetate  of  lead)  and  the  mixture  allowed  to  clear  by  set- 
tling, a  copious,  white,  cloudy  precipitate  forms  containing 
oxide  of  lead,  while  the  oil  is  converted  into  a  drying  oil 
of  a  pale  straw  color,  which  makes  an  excellent  strong  dry- 
ing oil  or  varnish,  which  ought  to  dry  in  about  twenty -four 
hours.  It  contains  from  four  to  five  per  cent,  of  oxide  of 
lead  in  solution. 

THE  BEST  PROCESS, 

The  following  proportions  appear  to  be  the  most  advan- 
tageous for  a  preparation  of  drying  oil : 

In  a  bottle  containing  four  and  a  half  pints  of  rain  water 
put  eighteen  ounces  of  neutral  acetate  of  lead,  and  when 
the  solution  is  complete  put  in  eighteen  ounces  of  litharge, 
in  a  very  fine  powder.  The  whole  is  then  allowed  to  stand 
in  a  moderately  warm  place,  frequently  agitating  it  to  assist 
the  solution.  This  preparation  may  be  considered  complete 
when  no  more  small  scales  of  the  litharge  are  apparent. 

The  deposit  of  a  shining  white  color  (sex  ba^ic  acetate  of 
lead)  may  be  separated  by  filtration.  This  conversion  of  a 
neutral  acetate  of  lead  into  vinegar  of  lead,  by  means  of 
litharge  and  water  is  effected  in  about  a  quarter  of  an  hour, 
if  the  mixture  be  heated  to  ebullition.  When  heat  is  not 
applied  the  process  will  take  from  three  to  four  days.  The 
solution  of  vinegar  of  lead  thus  formed  is  sufficient  for  the  pre- 
paration of  twenty-two  pounds  or  three  gallons  of  drying  oil. 

For  this  purpose  the  solution  is  diluted  with  an  equal 
amount  of  ram  water,  and  to  it  is  gradually  added,  with 
casual  agitation,  twenty-two  pounds  of  oil,  with  which 
eighteen  ounces  of  litharge  have  been  previously  mixed. 


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When  the  points  of  contact  between  the  lead  solution  and 
the  oil  have  been  frequently  renewed  by  agitation  of  the 
mixture  (three  or  four  times  per  day),  and  the  mixture  is 
allowed  to  settle  in  a  warm  place,  a  limpid,  straw-colored 
oil  rises  to  the  surface,  leaving  a  copious  white  deposit. 

The  watery  solution,  rendered  clear  by  filtration,  con- 
tains intact  all  the  acetate  of  lead  originally  employed,  and 
which  may  be  used  in  the  next  operation,  after  the  addition 
to  it  as  before,  of  eighteen  ounces  of  litharge.  By  filtra- 
tion through  paper  or  cotton,  the  oil  may  be  obtained  as 
limpid  as  water,  and  it  can  also  be  bleached  by  exposure  in 
the  sun. 

If  this  oil  requires  to  be  absolutely  free  from  lead,  it  may 
be  so  rendered  by  the  addition  of  dilute  sulphuric  acid  to 
the  above,  when,  on  being  allowed  to  stand,  a  deposit  of 
sulphate  of  lead  will  take  place,  and  the  clear  oil  may  be 
obtained,  free  from  all  traces  of  lead. 

ZINC  DRYER. 

This  dryer  is  prepared  from  the  oxide  of  manganese  and 
raw  linseed  oil. 

The  manganese  is  broken  into  pieces  as  small  as  peas, 
dried,  and  the  powder  separated  by  a  sieve.  The  fragments 
are  then  placed  in  a  bag  made  of  iron  wire  gauze — this  to 
hang  in  the  oil  contained  in  the  iron  or  copper  vessel — 
and  the  whole  heated  gently  for  twenty-four  or  thirty-six 
hours. 

The  oil,  however,  must  not  be  allowed  to  boil,  for  there 
is  gi*eat  danger  of  its  running  over.  When  the  oil  has 
acquired  a  reddish  color  it  is  to  be  poured  into  an  appropri- 
ate vessel  to  clear. 

For  one  hundred  parts  of  oil,  ten  pai'ts  of  manganese 
may  be  employed,  and  which  will  serve  for  several  oper- 
ations when  freshly  broken  and  the  dust  separated. 

Experience  has  shown  that  when  fresh  oxide  of  mangan- 
ese is  employed,  it  is  better  to  introduce  it  into  the  oil  on 
the  second  day.  The  process  occupies  a  longer  time  with  the 
fresh  oxide.  Very  great  care  is  required  to  prevent  acci- 
dent, and  one  of  the  principal  points  to  be  observed  is  that 
the  oil  be  not  overheated.    If  the  boiling  should  render  the 


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oil  too  thick,  this  may  be  remedied  by  an  addition  of  tur- 
pentine, after  it  has  thoroughly  cooled. 

COLD-MADE  DRYING  OIL  FOR  ORDINARY 
PURPOSES. 

Four  ounces  of  litharge  to  the  gallon.  Stir  it  often,  and 
allow  it  to  settle.  Pour  off  carefully,  and  you  have  a  good, 
clear,  drying  oil. 

Any  of  the  drying  oils  described  will  work  and  stand 
well,  if  you  use  sufficient  turpentine  in  the  mixing,  and  you 
will  thereby  be  able  to  dispense  with  raw  oil  and  japan 
dryers.  If  you  wish  to  hurry  up  your  work  a  little  drying 
japan  can  be  used. 

GILDING   OTS  GLASS. 

This  beautiful  art  is  worked  in  many  different  ways,  every 
artist  having  his  own  peculiar  method. 

One  very  good  way  is  to  first  outline  with  a  piece  of  hard 
soap,  your  letters,  scrolls,  etc.,  (on  the  outside)  then  com- 
mence to  outline  on  the  glass  (inside)  with  some  suit- 
able color,  a  light  shade  line  for  the  top  and  left  side  of  the 
letter )  then  upon  tne  bottom  and  right  side  of  them  use  a 
black,  or,  in  fact,  almost  any  color  you  may  select.  When 
£ry  proceed  to  lay  on  your  gold. 

Some  use  gin,  some  whisky,  others  simply  water ;  gum 
arabic  in  solution,  white  of  egg,  may  be  used.  One  can 
merely  breathe  upon  the  glass  and  it  will  sometimes  answer 
the  purpose  of  a  "  tack  "  for  the  gold. 

I  have  found  an  excellent  size,  made  from  a  solution  of 
gum  tragacanth  in  water.  The  first  part  that  dissolves  is 
the  part  that  suits  bes* ;  that  portion  being  pure,  while  the 
residue  is  cloudy  and  unfit  for  use. 

When  wanted  to  use,  reduce  a  portion  of  the  gum  with 
water  to  a  very  weak  standard,  as  in  all  cases  you  will  find 
your  gilding  bright  in  exact  ratio  to  the  thinness  and  trans- 
parency of  your  size.  I  consider  this  the  most  desirable 
size,  especially  for  large  work. 


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20? 


OUTLINING    I  PON  GLASS. 

First  Method. — Draw  your  lines  upon  the  glass  at  the 
proper  distances  for  the  size  of  your  letters,  etc.,  with  a 
piece  of  hard  soap,  which  will  make  very  distinct  lines. 
Then  form  your  letters  accurately,  and  in  true  distances  or 
space,  one  from  the  other,  being  satisfied  that  all  your  pro- 
portions, etc.,  are  correct.  You  will  now  be  ready  to  com- 
mence your  gilding. 

Second  Method. — Have  your  letters,  etc.,  drawn  out  on  fine 
paper ;  prick  with  a  pin  the  outlines  of  your  letters,  scrolls, 
etc.  Next  take  a  bag  made  of  muslin,  filled  with  fine  pow- 
dered charcoal  ;  lay  the  paper  carefully  to  its  proper  place  5 
then  pounce  the  charcoal  bag  against  the  paper,  and  you 
can  then  trace  the  outlines  in  full  with  black  japan.  To 
make  all  secure  it  will  be  necessary  to  give  the  work 
two  or  three  coats,  and  when  dry,  wash  or  rub  off  all  super- 
fluities with  a  sponge  or  soft  cotton  rag. 

N.  B. — This  method  is  only  used  after  gilding,  where  the 
leaf  is  placed  full  without  any  outline. 

Third  Method. — To  get  accurate  lines  upon  glass,  pre- 
paratory to  gilding.  In  the  first  place,  clean  the  glass 
thoroughly  ;  then  with  a  mixture  of  whiting,  water,  and  a 
Jittle  milk,  brush  carefully  all  over  the  outside  of  the  glass. 
When  dry,  draw  your  parallel  lines,  letters,  scrolls,  etc.,  with 
a  pointed  stick. 

For  small  work,  turn  the  glass  around,  and  letter  back- 
ward. If  inside  of  a  window,  work  upon  the  same  prin- 
ciple. This  is  an  easy  and  a  true  method  of  forming  your 
lettering  or  ornamentation,  a^  any  fault  in  the  drawing  can 
be  easily  corrected. 

MODUS  OPERANDI  FOE  GILDING  ON  GLASS. 

Whichever  size  you  agree  upon,  lay  it  on  with  a  full  pen- 
cil, and  proceed  wTith  your  gold  at  once,  so  as  to  secure  a 
solid  "cover"  without  being  obliged  to  u touch  up/'  and  if 
you  wish  to  use  two  coats  of  gold,  blow  your  breath  upon 
the  first  coat  to  hold  the  second. 

Lay  as  much  gold  as  possible  before  your  size  dries,  and 
so  proceed  until  your  lines  are  finished.    Then  rub  it  down 


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gently  to  remove  the  superfluous  gold.  Then  proceed  to 
outline  as  in  second  method  above ;  or  draw  your  parallel 
lines  through  the  gilding  (if  in  capitals  of  one  given  length) 
and  cut  in  your  letters  with  black  japan  very  carefully 1 
forming  them  all  backward.  This  is  the  principle  of  the 
first  method,  but  it  requires  considerable  practice  to  do  it 
correctly. 

If  any  ornament  is  wanted  in  the  body  of  the  letters,  lay 
them  in  with  oil  size.  When  dry,  gild  and  shade  if  re- 
quired. When  all  is  dry,  lay  in  the  entire  letter  with  the 
size  (spirit  or  water  size)  and  gild  and  back,  as  above,  viz. : 
with  two  or  three  coats  of  black  japan. 

The  shading  is  done  afterward,  and  in  any  colors  the 
artist  may  decide  upon.  It  generally  takes  two  coats  to 
cover  solid  upon  glass. 

Gilding  upon  glass  requires  gi*eat  practice  and  very  nice 
handling,  but  with  proper  care,  this  process  looks  very  beau- 
tiful and  stands  well. 

Silver  leaf  is  laid  on  in  the  same  manner,  only  it  requires 
a  little  stronger  size  than  the  gold  calls  for.  The  silver 
being  heavier  relatively,  use  the  size  of  gum  tragacanth. 

One  point  seems  rather  difficult — that  of  having  to  form 
the  letters  backward,  but  practice  is  the  only  thing  that 
will  make  perfect,  in  this  respect,  and  enough  of  it  will  make, 
what  at  first  seems  a  difficulty,  as  easy  as  the  formation  of 
letters  in  the  ordinary  way. 

CHANGEABLE  SIG-TV^. 

Have  a  board  made  of  any  convenient  size,  and  have  a 
projecting  baud  or  molding  around  it.  Then  cut  into  th< 
band  grooves  the  thickness  of  a  handsaw,  an  inch  apart, 
allowing  each  cut  to  reach  to  the  bottom  of  the  band,  lr 
each  of  these  slots  insert  strips  of  tin,  just  wide  enough  U 
fill  the  entire  slot,  and  long  enough  to  reach  entirely  across 
the  sign  board. 

When  all  fitted,  take  them  out  and  place  them  edge  to 
edge  upon  a  flat  surface,  and  paint  any  word  you  like  upon 
their  combined  surface.  When  dry,  reverse  and  paint  other 
words  upon  the  other  side. 

Next  paint  any  words  you  please  upon  the  surface  of  the 


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sign  board,  and,  when  dry,  again  insert  the  strips  of  tin  into 
the  slots  in  the  board,  taking  them  up  in  the  same  order 
in  which  they  lay  when  painted  upon. 

This  is  really  a  magical  sign  (three  signs,  in  fact),  and 
changes  as  the  observer  changes  his  position,  at  one  angle 
showing  one  thing,  and  at  another  quite  a  different  one. 
They  are  coming  much  in  use  now-a-days,  and  it  is  a  good 
branch  of  the  art  to  make  one's  self  perfect  in. 

JAPA1NNED    TIN  SIGNS. 

Draw  your  letters  on  paper  to  suit  your  sheet  of  tin, 
having  first  cleaned  it  with  diluted  alcohol  and  a  piece  of 
cotton.  This  will  remove  any  grease  or  other  matter  that 
might  hold  the  gold.  Then  take  some  whiting  and  rub  it 
over  the  back  of  the  paper  upon  which  your  design  is  made 
and  lay  it  upon  the  japanned  tin. 

Place  a  weight  upon  the  four  corners  of  the  paper,  or 
otherwise  fix  it  securely  to  the  tin  ;  then,  with  a  fine  point- 
ed piece  of  hard  wood,  trace  the  design  carefully,  bearing 
upon  the  paper  with  the  point  just  hard  enough  to  cause 
the  whiting  on  the  under  side  of  the  paper  to  adhere  to  the 
tin,  and  after  going  carefully  over  the  whole,  you  will  have 
transferred  the  entire  design  in  fine  white  outline  to  the  tin 
you  are  to  finish  it  upon. 

Then  size  with  either  quick  or  slow  drying  oil  size,  and, 
when  sufficiently  dry  for  gilding,  lay  on  the  gold  leaf,  and 
"bat"  it  down  thoroughly,  afterward  brushing  off  with 
your  flat  camel-hair  brush  or  cotton. 

REMARKS    OINT  SHADING. 

There  is  a  difference  between  shading  and  shadows. 
Shading  a  letter  is  simply  making  an  artificial  representa- 
tion of  a  raised  letter,  and  consequently  requires  a  light 
fine  shade  upon  the  top  and  left  side  of  the  letter,  and  a 
dark  one  upon  the  bottom  and  right  side. 

These  shades  will  have  the  effect  of  raising  the  letter, 
but  the  deception  is  incomplete  without  the  shadow.  This 
is  to  be  attained  by  representing  a  shadow  cast  by  the 
painted  object,  and  should  always  be  of  one  uniform  color: 
dark,  but  very  thin.    A  mere  glaze,  as  it  were,  composed 


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of  ivory  black,  Vandyke  brown,  raw  and  burnt  umber,  as- 
phaltum,  etc. 

Always  keep  in  view  the  tone  of  the  ground,  for  that  has 
all  to  do  with  choosing  the  most  natural  shadow,  as  stated 
before.  The  above  enumerated  colors,  by  Judicious  and 
well  balanced  composition,  will  yield  an  excellent  shadow 
to  suit  any  ground. 

In  shading  letters,  considerable  judgment  is  necessary, 
as  some  of  the  alphabet  requires  less  shade  than  others,  for 
this  reason :  a  portion  of  them  would  be  filled  up  too  much 
if  the  shade  was  of  uniform  weight.  B,  S,  K,  G,  and  N, 
the  body  angles  of  which  do  not  admit  of  so  heavy  a  shade 
as  perpendicular  or  bottom  letters. 

It  is  very  general  with  sign  painters  to  make  the  bottom 
shades  a  trifle  heavier  than  the  perpendiculars,  and  for  this 
reason  :  the  sun  casts  a  heavier  shade  to  the  bottom  in 
proportion  to  the  angle  of  light,  and  for  this  reason  a  heav- 
ier shade  is  demanded. 

In  regard  to  the  formation  of  letters,  one  rule  will  hold 
good  in  all  respects,  at  least  so  far  as  Roman  letters  are 
concerned ;  in  case  you  do  not  wish  to  paint  them  square — 
as  wide  as  they  are  high — diminish  the  width  in  exact  ratio 
to  the  increase  of  the  hight,  and  vice  versa. 

PAINTING  ON  CLOTH  OR  SILK. 

For  Masonic  or  Oddfellow's  aprons,  banners,  or  any 
work  of  like  nature,  a  few  words  may  be  useful. 

First  have  your  material  put  upon  a  stretcher,  and  then 
complete  your  lettering  and  design.  Prepare  a  size  as  fol- 
lows :  Dissolve  bleached  shellac  in  alcohol,  and  thin  as 
much  as  will  cover  the  parts  to  be  painted  or  gilded,  using 
the  precaution  to  cut  over  the  outline  a  little,  so  as  to  pre- 
vent the  color  from  spreading. 

Another  size  may  be  prepared  by  simply  using  the  white 
of  an  egg.  This  size  will  do  where  the  work  is  not  ex- 
posed to  the  weather,  or  when  it  is  required  to  be  done 
quickly ;  and  for  such  work,  where  gilding  is  to  be  done, 
lay  the  gold  while  the  size  is  wet,  and  when  dry,  dust  off 
the  surplus  gold  and  proceed  with  the  painting,  shading, 
etc.,  when  you  are  sure  that  the  size  is  dry,  remember. 


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SIZE  FOR  BRONZING. 

A  good  size  for  bronzing,  or  pale  gilding,  is  a  mixture  of 
asphaltum,  drying  oil,  and  spirits  of  turpentine. 

A  size  for  gilding  on  cloth,  silk,  plaster,  etc.,  is  made  as 
follows :  Take  a  little  honey,  combined  with  thick  glue. 
When  reduced  properly,  this  size  has  the  effect  of  bright- 
ening the  color  of  the  gold  leaf,  sticking  to  it  well  and  giv- 
ing it  a  very  fine  luster. 

VARNISHES  FOR  SIGN  WORK 

The  artist  has  already  been  cautioned  against  the  use  of 
varnish  for  gilt  signs  ;  but  there  can  be  no  doubt  that  the 
varnish  not  only  improves,  but  is  actually  necessary  upon 
a  sign  where  the  decorative  or  ornamental  style  is  intro- 
duced. Varnish  has  the  effect  of  bringing  out  the  force  of 
colors ;  brings  them  to  their  true  tone,  and  gives  the  artist 
an  opportunity  to  be  judged  on  his  merits,  relative  to  har- 
mony, contrast,  and  force. 

For  this  reason,  considerable  care  must  be  taken  in  se- 
lecting a  suitable,  durable  varnish  for  this  purpose. 

An  excellent  varnish  for  sign  painters  may  be  made  as 
follows  :  To  eight  pounds  of  best  African  copal,  add  two 
gallons  of  pure,  clarified,  drying  linseed  oil,  half  a  pound 
of  sugar  of  lead  (acetate),  three  and  a  half  gallons  of  tur- 
pentine. 

Boil  the  copal  in  the  oil  very  slowly,  for  from  four  to  five 
hours,  until  quite  stringy ;  then  allow  it  to  cool  to  about 
130  degrees  F. ;  afterward  add  three  and  a  half  gallons 
of  turpentine  at  the  same  temperature.  Mix  well,  and 
strain  into  cistern  or  tank.  This  makes  a  slow-drying 
elastic  varnish,  not  liable  to  crack  by  any  out-door  expos- 
ure. 

QUICK  DRYING  VARNISH. 

"  Japanner's  gold  size,"  or  quick  drying  varnish,  may  be 
made  in  this  manner  : 

Eight  pounds  gum  animi,  half  a  pound  dried  sugar  of 
lead,  two  gallons  of  clarified  drying  oil,  three  and  a  half 
gallons  of  turpentine. 


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Boil  for  four  hours,  strain,  etc.,  as  above. 

Use  one  pot  of  this  varnish  to  two  of  the  former  kind, 
the  slow  drying.  This  mixture  will  dry  in  about  four 
hours  in  summer  and  six  in  winter. 

This  quick  drying  varnish  makes  a  good  dryer  for  deli- 
cate colors  ;  about  a  dessert-spoonful  to  twenty-five  pounds 
of  color  being  a  fair  proportion. 

Should  the  artist  not  wish  to  manufacture  his  own  var- 
nish, let  him  avoid  buying  any  cheap  article,  but  inquire 
for  "  slow  drying,  body  copal  varnish,"  and  also  for  the 
best  drying  japan,  so  that  if  required  to  varnish  a  piece  of 
work  that  is  wanted  to  dry  quick,  he  can  do  so  by  adding  a 
little  of  the  japan. 

MISCELLANEOUS  RECEIPTS. 

To  Clean  Old  Sign  Boards. — Brush  over  the  face 
of  the  board  with  warm  alcohol,  and  repeat  two  or  three 
times  if  necessary,  after  which  the  "  smalt  will  come  off 
easily,  by  the  use  of  a  dull  chisel  or  an  old  plane-iron.  Care 
should  be  taken  not  to  cut  into  the  surface,  as  such  places 
are  hard  to  patch  up  again. 

Another  Method. — Take  three  and  a  half  pounds  of 
stone  lime,  two  pounds  pearl-ash,  two  ounces  soft  soap, 
three  ounces  of  ammonia.  Slack  the  lime,  then  add  the 
soft  soap.  It  may  require  a  little  water  to  form  a  paste  ; 
then  add  the  pearl-ash  and  the  liquor  of  ammonia.  Keep 
in  a  close-stopped,  wide-mouthed  bottle,  or  stone  jar,  with 
a  little  water,  like  paint.  This  mixture,  when  laid  on  a 
sign  or  any  old  piece  of  painting,  will  soften  it  so  that  it 
will  wash  off  with  the  utmost  ease. 

Still  Another  Method. — Lay  your  work  top  up,  and 
go  over  it  with  turpentine  ;  set  fire  to  it,  and  the  old  paint 
will  soften  up,  and  with  an  old  chisel  or  a  piece  of  flat, 
sharpened  wood  you  can  scrape  off  the  old  color  with  per- 
fect ease.  The  best  way  of  doing  this  is  to  cover  a  foot 
or  so  at  a  time  with  the  turpentine,  and  proceed  as  above. 
Then  rub  off  with  pumice  and  water. 


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213 


TO  LAY  SMALT  GROUNDS. 

Mix  your  color  as  Dear  as  possible  to  the  desired  shade 
to  suit  the  smalt ;  mix  with  strong  drying  oil,  not  too  thin; 
then  cut  round  your  letters,  scrolls,  etc.  ;  with  a  fitch  and 
sash  tool  fill  in  all  the  spaces  ;  then  with  smalt  dust  all  the 
surface,  taking  care  to  put  more  than  enough  on,  so  as  to 
allow  the  "  oil  ground  "  to  absorb  all  it  possibly  can. 
When  dry  (usually  the  next  day)  turn  your  signs  on  end, 
or  on  the  side,  and  all  the  surplus  smalt  can  be  brushed  off 
and  saved.   A  small  wire  sieve  is  good  for  straining  smalts. 

Some  printers  shade  their  letters  first,  that  is,  before 
smalting,  which  is  the  neatest  way  for  fine  or  small  work  ; 
but  for  large  signs  it  will  have  a  better  effect  to  shade  the 
letters  after  smalting.  Mix  the  shading  color  with  very 
little  oil,  mostly  japan  and  turpentine,  and  draw  with  short 
quill  tools  or  French  fitches. 

FLOCKS. 

Flocks  are  laid  upon  the  same  principle.  These 
grounds  are  very  beautiful  and  chaste  looking,  but  they  are 
very  unsuitable  for  signs  that  are  exposed  to  the  weather, 
as  the  colors  do  not  stand  any  length  of  time,  black  being 
the  only  one  that  can  be  depended  on. 

Instead  of  smalts,  colored  sands  are  sometimes  used. 
These  retain  their  colors  well,  and  if  taste  is  displayed  in 
arranging  the  hue  and  tints,  very  beautiful  work  can  be 
produced. 

FACING  PUTTY  FOR  SIGNS. 

Facing  putty  for  signs  that  are  to  be  gilded  may  be 
made  in  this  way  :  Take  a  little  fine  whiting,  a  very  little 
drying  oil,  japan  dryers,  and  beat  all  up  to  a  reasonable 
stiffness.  With  this  mend  all  the  inequalities  with  a  square- 
ended  knife.  This  putty  will  harden  very  rapidly  and  dries 
without  any  shrinkage,  tack,  or  softness.  In  mixing,  use 
more  japan  than  oil,  say  two-thirds  japan. 


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GLASS  SIGNS,  WITH  PEARL  SETTINGS. 

The  best  method  of  doing  such  signs  is,  first  to  draw 
your  parallel  lines  with  a  sharp  pointed  piece  of  hard  soap. 
Then  form  your  letters  correctly,  giving  them  the  proper 
distances,  etc. 

Have  your  outlining  very  true,  as  by  so  doing  you  will, 
avoid  much  trouble  when  finishing.  If  you  desire  to  en- 
close the  pearl  within  gold  lines,  clean  your  glass  upon  the 
opposite  side,  then  with  your  camel-hair  brush  lay  on  your 
size  as  directed  for  gilding  on  glass. 

When  you  have  done  this,  lift  your  gold  leaf  and  lay  it 
on  carefully.  When  all  the  gilding  is  done  and  dry,  take 
a  pencil  of  the  proper  size  and  cut  in  all  the  letters  as 
neat  as  possible,  giving  them  sufficient  strength  and  weight 
in  proportion  to  the  size  of  the  letter,  leaving  the  center  or 
blank  space  entirely  clear. 

By  "  cutting  in  99  I  mean  that  all  you  wish  to  show  in 
gold  must  be  laid  in  with  black  japan,  two  coats.  When 
the  japan  is  dry,  then  wash  off  carefully  all  the  surplus 
gold.    The  work  is  now  ready  for  the  pearls. 

The  pearl  for  this  work  is  all  prepared,  ready  for  use,  in 
thin  pieces  or  sheets.  There  are  two  kinds,  the  snail,  and 
the  aurora,  also  the  small  broken  pieces,  called  scrap, 
which  is  very  useful  in  filling  up  small  portions  of  the 
work,  and  forming  different  kinds  of  ornaments. 

If  careful  in  selecting  the  snail  pearl,  great  beauty  and 
order  may  be  obtained,  for  shells  of  an  equal  size  and  form 
when  cut  into  sheets  will  reflect  either^oncave  or  convex, 
according  to  the  side  presented  to  the  eye. 

If  a  round  piece  is  wanted  in  the  center  of  each  body 
and  round  turn  of  the  letter,  cut  the  sheet  with  a  sharp 
pair  of  scissors  into  the  desired  shape.  It  is  the  best  way 
to  make  a  pattern  of  tin  to  cut  them  by,  thus  insuring  a 
perfect  uniformity. 

Then  clean  off  the  edges  with  a  fine  file,  and  arrange 
them  upon  your  table  so  as  to  have  them  reflect  all  one 
way,  copvex  side  up.  Have  your  size  in  a  little  cup,  a 
short,  stiff,  sable  pencil,  etc.,  ready  to  work. 

Lay  a  coat  of  size  over  the  face  of  the  pearl  and  then 
put  it  in  its  proper  place  in  the  letter.    Press  it  hard  upon 


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215 


the  giass  so  as  to  displace  all  the  size  possible,  as  much  of 
the  beauty  of  the  work  depends  upon  having  as  little  as 
may  be  of  the  size  show  between  the  pearl  and  the  glass. 
As  with  glue  and  wood,  the  less  glue  there  is  in  a  joint  the 
better  it  holds,  and  the  closer  the  pieces  of  wood  approach 
each  other. 

When  you  have  set  all  of  the  pearls  turn  the  glass  face 
upward,  and  see  if  all  are  placed  so  as  to  show  alike,  for 
if  there  are  any  corrections  to  be  made  now  is  the  time  to 
make  them. 

There  are  a  great  variety  of  forms  manufactured  and  for 
sale,  such  as  representations  of  humming-birds,  paroquets,  fish 
flowers,  scrolls,  etc.,  which  are  susceptible  of  being  made 
into  very  pretty  work  when  judiciously  handled.  In  short 
a  thousand  varieties  of  work  can  be  produced  and  many 
different  materials  used  in  this  same  way. 

After  the  larger  pearls  are  set  you  can  form  the  other 
portions  of  your  letters  with  such  sizes  as  you  may  choose, 
and  fill  up  the  smaller  portions  with  the  u  scrap,"  taking 
care,  however,  not  to  have  the  pieces  set  too  near  together, 
or  the  effect  will  be  bad,  as  much  relief  is  obtained  through 
the  medium  of  the  ground. 

When  your  size  is  dry  and  the  pearl  firm,  then  have  your 
ground  mixed  up  stiff  with  drying  japan,  oil,  and  turpen- 
tine, but  only  a  small  proportion  of  oil.  After  mixing  it 
to  the  proper  shade  lay  on  a  heavy  coat  of  ground  color. 

When  any  particular  style  of  ornamentation  is  desired 
you  can  vary  the  colors  of  your  ground,  shading  the  dif- 
ferent sides  of  the  letters,  scrolls,  etc.,  to  suit  your  own 
taste  and  fancy,  doing  the  shading  in  a  similar  way  as  you 
wouid  any  glass  signs. 

Green,  red,  yellow,  white,  etc.,  are  used  with  good  effect, 
shaded  in  order,  viz.  :  greens  with  darker  greens  ;  reds 
with  brown,  purple,  etc. ;  yellow  with  burnt  umber,  blend- 
ing carefully.  In  short,  a  great  variety  of  colors  may 
be  used  in  such  work,  and,  as  before  said,  an  endless  variety 
of  styles  produced. 


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SIZE  TO  FIX  THE  PEARL. 

1st.  Pure  mastic  varnish. 

2d.  Pale,  quick  drying  copal  varnish. 

3d.  Copal  varnish  and  Canada  balsam  :  one-third  copal  : 
two-thirds  Canada  balsam. 

In  shading  letters,  they  look  best  when  the  shade  is 
drawn  on  an  angle  of  about  forty  degrees,  although  much 
depends  upon  the  taste  of  the  artist. 

With  the  simple  rules  here  given  for  pearl  and  fancy 
signs,  every  variety  known  in  the  market  may  be  produced. 

CONCLUDING  REMARKS. 

Having  gone  over  about  all  that  is  necessary  to  consti- 
tute a  ready  "  Hand  Book  "  to  the  sign  painter,  a  few  con- 
cluding remarks  may  not  be  inappropriate.  I  do  not  pre- 
sume to  teach  the  practical  sign  painter  or  gilder,  still  I 
flatter  myself  that  even  he  may  find  in  this  Manual  many 
things  that  are  new  or  but  imperfectly  understood. 

These  recipes  and  methods — in  fact,  the  contents  of 
the  entire  book — is  but  the  summary  of  a  long  experience 
on  my  part,  both  in  this  country  and  in  England.  I  have 
given  nothing  and  advanced  nothing  but  what  I  have  used 
and  profited  by  myself. 

StHl  experience  is  not  the  only  help  a  man  may  employ. 
The  experience  of  others  oftentimes  saves  us  from  much 
labor  in  personal  research  and  experiment,  and  what  1  have 
read,  what  1  have  learned  myself  during  forty  years  of 
practical  sign  and  decorative  painting,  is  here  given  freely 
for  the  good  of  the  profession. 

SCALE  OF  PRICES. 

Letters  are  generally  charged  for  by  the  foot. 
Plain  letters  -----       30c.  per  foot. 
For  one  shade,  add  -       -       10c.  " 

Double  shade,  add        -       -       -  20c. 
Gold  letters  -       -       -  -  SI. 00 

Ornamented  letters,  scrolls,  etc.,  charge  for  time  and  ma 
terial  in  the  same  proportion 


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217 


Japanned  tin  signs  7c.  per  inch. 

Shading       u  -       -       -  2c.  " 

Lettering  on  glass  -  -  7c.  a 

Letters  made  on  glass,  tin,  or  stone  3c.  " 
Plain  ornaments,  same  as  letters. 

Gold  borders  -       -       -       -       -  3c.  " 
In  gold  or  plain  surfaces,  the  labor  equal  to  cost  of  the 
gold. 

Ornaments  in  proportion  to  the  labor. 

These  rules  will  serve  as  an  average  in  proportioning  the 
prices  to  the  amount  of  labor. 

It  would  be  superfluous  to  enumerate  a  further  list  of 
prices,  for  the  purpose  of  meeting  every  variety  of  letter- 
ing and  ornamenting,  but  these  prices  given  may  be  taken 
as  a  standard,  subject  always  to  the  fluctuations  of  the 
prices  of  labor  and  material. 


FRESCO  PAINTING, 

AND    ITS   AUXILIARIES  COMBINED. 


Of  all  those  attainments  which  contribute  as  well  to  the 
gratification  of  the  senses  as  to  the  refinement  of  the  taste 
and  the  enlargement  of  the  intellectual,  powers,  the  art  of 
Painting  is  perhaps  the  best  adapted  to  the  human  mind. 

The  satisfaction  derivable  from  the  contemplation  of  a 
beautiful  work  of  art  possesses  a  peculiar  advantage ;  it  is 
renewable  at  pleasure  without  any  continuance  of  the  ex- 
ertion by  which  it  was  produced.  But  a  rare  combination 
of  talent  with  industry,  or,  at  least,  great  industry,  can 
alone  lead  to  productions  which  may  claim  admiration  be- 
yond the  circle  of  our  own  partial  relatives  and  friends. 
Experience  has  proved  the  impracticability  of  conveying  a 
knowledge  of  the  elementary  principles  of  this  art,  in  any 
manner  so  as  to  supersede  the  useful  labors  of  the  drawing 


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toaster  or  teacher,  yet  there  is  much  to  be  learned  before 
the  pupil  can  go  alone,  with  confidence,  after  the  period 
when  his  attention  ceases,  and  which  the  limited  duration 
of  his  lessons  cannot  include ;  to  this  we  must  attribute 
the  fact  that  so  many  who  make  a  fair  progress  under  the 
master's  eye,  either  never  attempt  any  performance  with 
the  pencil  after  he  has  ceased  to  superintend  anc  direct 
their  studies,  or  finding  themselves  embarrassed  at  the  out- 
set, abandon  the  pursuit  and  fancy  "  their  genius  does  not 
lie  that  way."  We  will  presume,  however,  that  the  reader 
has  gone  through  the  usual  elementary  course  of  instruc- 
tion, that  he  is  able  to  copy  with  acc  uracy  the  outline  at 
least  of  any  object  which  may  be  set  before  him  ;  this  and 
much  more  may  be  obtained  by  any  person  of  moderate 
abilities  by  industry,  without  an  iota  of  that  much  mis- 
understood quality  genius,  which  has  proved  an  ignis  fa- 
tuus  to  thousands.  One  of  the  greatest  artists  of  the  day 
was  right  when  he  said  :  "  Nothing  is  denied  to  well  directed 
industry  ;  nothing  is  to  be  obtained  without  it."  Depend, 
then,  wholly  upon  your  own  exertions,  and  listen  rather 
to  the  criticisms  of  the  judicious  than  the  praises  of  those 
who  will  flatter  you  with  assurances  that  you  possess  in- 
tuitive excellences  which  may  render  application  unneces- 
sary. To  recommend  a  proper  course  of  study  will  be  the 
most  useful  purpose  to  which  these  pages  can  be  devoted, 
for  it  cannot  be  dispensed  with. 

Before  any  attempt  be  made  beyond  copying,  the  student 
is  enjoined  to  acquire  a  clear  view  of  the  leading  principles 
of  perspective  on  pain  of  committing  absurditu  s,  for  which 
no  beauty  of  color  can  atone  ;  it  will  be  found  less  difficult 
than  is  generally  imagined.  Although  it  would  be  impos- 
sible to  compress  into  our  limits  all  the  explanations  and 
diagrams  necessary  to  an  illustration  of  its  theory,  we  shall 
subsequently  offer  a  few  observations  which,  we  trust,  will 
prove  beneficial  to  the  student. 

There  are  two  points  to  which  we  would  particularly 
wish  to  call  attention,  because  they  are  errors  that  greatly 
retard  the  progress ;  one  is  a  want  of  command  of  hand, 
the  other,  an  impatience  to  produce  a  finished  effect  with- 
out the  systematic  and  gradual  process  necessary  to  the 
production  of  a  piece  of  good  work. 


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219 


To  remedy  the  first  will  require  great  attention  and  prac- 
tice, if  the  uncertainty  of  hand  or  timidity  of  touch  exist  in 
a  great  degree.  It  is  never  found  among  the  artists  of 
necessity,  with  whom  quality  of  production  is  an  object  of 
importance,  as  decorative  painters,  designers  for  furniture 
and  manufacturers;  with  these  freedom  and  precision  of  hand 
are  seldom  wanting. 

We  advise  the  pupil  to  study  well  every  line  before  it  is 
begun,  to  determine  its  exact  course  and  bearing;  in  short, 
to  look  from  the  object  to  be  represented  to  the  surface  on 
which  it  is  to  be  drawn  again  and  again,  until  the  mind's 
eye  transfer  it  and  the  imagination  sees  it  in  the  place  it 
is  to  occupy — that  is  the  moment  to  be  seized,  and  then 
the  quicker  the  line  is  drawn  the  better.  Large  objects 
should  be  copied  on  common  sheets  of  paper ;  it  is  a  great 
check  to  the  freedom  of  the  hand  to  have  your  sheets  too 
small,  as  it  has  the  tendency  to  produce  fear  about  spoiling 
your  design  or  drawing.  Still  avoid  the  opposite  extreme, 
and  remember  always  that  true  proportion  and  correctness  is 
the  first  principle  of  the  art. 

An  occasional  hour  or  two  would  not  be  misspent  if  oc- 
cupied in  drawing  straight  lines  perpendicularly,  diago- 
nals, parallel  to  each  other,  and  circles  without  the  com- 
passes. 

This  observation  is  applicable  to  many  who  would  be 
ashamed  of  being  seen  so  employed ;  who  have,  in  fact, 
attempted  to  execute  a  piece  of  work  without  sufficient 
practice  in  the  rudiments  of  the  art. 

The  second  error  is  even  still  more  common,  that  is  for 
a  painter  to  proceed  to  color,  or  rather  to  waste  his  time 
in  shadowing  or  coloring  upon  an  outline  which  might 
ni can  anything.  There  is  no  time  in  the  progress  of  a 
piece  of  work,  when  the  forms  of  objects  can  be  so  conve- 
niently improved,  as  when  they  are  in  a  faint  outline;  a 
thorough  conviction  of  this,  and  experience  of  the  pleasure 
of  modeling  as  it  were  into  substance  by  shadows,  and 
adding  the  charms  of  color  to  well-studied  forms  will  render 
patient  labor  less  irksome  by  anticipation  of  certain  ulti- 
ma (e  success. 

In  your  early  practice  of  drawing  from  solid  objects,  it 
svould  be  well  to  make  several  studies  from  a  white  globe, 


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placing  it  in  different  lights,  and  having  only  one  window 
in  the  room. 

You  will  find  that  there  is  but  a  single  spot  upon  it  which 
can  be  represented  by  perfect  whiteness  ;  and  that  all  the 
other  rays  falling  obliquely  upon  a  receding  surface,  a 
weakened  light  is  received,  diminishing,  at  last,  into  abso- 
lute shadow,  until  again  relieved  by  reflection  from  sur- 
rounding objects  on  the  opposite  side.  A  cylinder  may  be 
made  by  a  roll  of  paper,  an  egg  will  serve  as  an  oval,  and 
a  cone  may  be  obtained  by  rolling  up  a  sheet  of  paper  in 
the  shape  of  an  extinguisher.  Thus  the  models  are  easily 
obtained,  and  the  pupil  has  but  to  study  them  well,  and  he 
will  imbibe  all  the  principles  of  light,  shadow  and  reflection. 

He  may  then  proceed  to  the  plaster  bust,  which  must  be 
clean  and  free  from  dust,  as  discolorations  greatly  em- 
barrass an  inexperienced  practitioner. 

The  outline  should  be  sketched  faintly  at  first  with  soft 
charcoal  (that  made  of  the  willow  is  the  best),  the  super- 
fluity of  which  may  readily  be  removed  from  the  paper  by 
a  soft  feather  duster  or  a  light  whisk  of  the  handkerchief, 
or  even  a  feather,  leaving  a  faint  but  sufficiently  distinct  re- 
presentation. This  should  be  repeated  until  the  pupil  is 
satisfied  with  the  form  and  proportions,  when  colored  chalk 
may  be  used. 

A  gray  paper  we  prefer,  as  it  forms  the  most  natural 
medium  between  the  black  and  white  chalk,  and  must 
always  appear  between  them.  Soft  French  chalk  is  the 
best  for  general  purposes,  and  the  Italian  chalk,  which  is 
harder,  for  finishing,  or  where  great  neatness  is  required. 

Center  pieces  for  ceilings,  scrolls,  spandrels,  parterres, 
etc.,  moldings,  copies  of  the  various  orders  of  architecture,' 
viz. :  Tuscan,  Doric,  Ionic,  Corinthian,  and  Composite.  ; 

Here  the  pupil  will  find  a  large  field  for  study,  and  we 
1  would  strongly  recommend  that  those  various  orders  should 
be  copied  from  some  genuine  prints,  in  parts  and  in  whole, 
so  as  to  familiarize  the  eye  and  cultivate  the  mind  to  all 
the  varieties  therein  contained. 

Those  lessons  in  colored  chalks  are  the  most  ready  me- 
thods for  gaining  knowledge  in  shading,  etc.,  so  as  to  raise 
any  object  upon  a  plain  surface,  to  represent  that  relief  or 
effect  which  is  wished  to  be  obtained  previous  to  attempt- 


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221 


ing  anything  with  water  colors.  For  if  not  very  conversant 
with  the  true  forms  of  the  subject  to  be  painted,  the  pupil 
will  find  himself  launched  into  a  sea  of  trouble  from  which 
it  will  be  difficult  for  him  to  extricate  himself. 

Therefore,  I  repeat,  that  owing  to  the  difficulty  of  work- 
ing colors  in  distemper  upon  a  ground  of  the  same  kind, 
where  any  fault,  either  in  tint  or  position,  is  by  no  means 
easily  rectified,  the  more  does  the  pupil  require  extensive 
and  laborious  practice  in  coloring  with  chalks  or  crayons. 
Then  he  will  become  decided  and  sure  of  touch,  and  make 
every  line  tell  with  masterly  effect. 

Speaking  of  the  various  orders,  their  prominent  distinc- 
tions are  as  follows  :  Tuscan,  of  which  the  usual  hight  of 
the  column  is  seven  diameters;  Doric,  eight;  Ionic,  nine  ; 
Corinthian,  ten  ;  and  Composite,  ten. 

The  Tuscan  is  quite  plain,  without  any  ornament  what- 
ever. 

The  Doric  is  distinguished  by  the  channels  and  project- 
ing intervals  in  the  frieze,  called  Triglyphs. 

The  Ionic  by  the  ornaments  of  its  capital,  which  are 
spiral  and  are  called  volutes. 

The  Corinthian  by  the  superior  bight  of  its  capital,  and 
its  being  ornamented  with  leaves,  which  support  very  small 
volutes. 

The  Composite  has  also  a  tall  capital  with  leaves,  but  is 
distinguished  from  the  Corinthian  by  having  the  large 
volutes  of  the  Ionic  capital. 

A  complete  order  is  divisable  into  three  grand  divisions, 
which  are  occasionally  executed  separately,  viz. :  The 
column,  including  its  base  and  capital;  the  pedestal,  which 
supports  the  column  ;  the  entablature,  or  part  above  and 
supported  by  this  column. 

These  are  again  each  subdivided  into  three  parts :  The 
pedestal  into  base  or  lower  moldings  ;  dado  or  die,  the  plain 
central  space  ;  and  surbase  or  upper  molding. 

The  column  into  base  or  lower  moldings.  .Shaft  or  cen- 
tral plain  space,  and  capital  or  upper  moldings. 

The  entablature  into  architrave,  or  part  immediately 
above  the  column  ;  frieze  or  central  flat  space ;  and  cornice 
or  upper  projecting  moldings. 

These  parts  may  again  be  divided  thus  :  The  lower  por< 


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tiotis,  viz. :  the  base  of  pedestal,  base  of  column  and  archi- 
trave, divided  each  into  two  parts ;  the  first  and  second 
into  plinth  and  moldings,  the  third  into  face  or  faces,  and 
upper  molding  or  tenia. 

Each  central  portion,  as  dado  of  pedestal,  shaft  of  column 
and  frieze,  is  undivided. 

Each  upper  portion,  as  surbase  of  pedestal,  capital  of 
column,  cornice  of  entablature,  divides  into  three  parts \ 
the  first  into  bed  molds,  or  the  part  under  the  corona ;  co- 
rona, or  plain  face  ;  and  cymatium  or  upper  molding. 

The  capital  into  neck  or  part  below  the  ovolo;  ovolo 
or  projecting  round  molding;  and  abacus  or  tile.  The 
flat  upper  molding  mostly  nearly  square. 

These  divisions  of  the  capital,  however,  are  less  distinct 
than  those  of  the  other  parts. 

The  cornice  into  bed  mold,  or  part  below  the  corona ; 
corona,  or  flat  projecting  face  ;  cymatium,  or  molding  above 
the  corona. 

Besides  these  general  divisions,  it  will  be  proper  to  no- 
tice a  few  terms  often  made  use  of. 

The  ornamental  molding  running  round  an  arch  or  round 
doors  and  windows,  is  called  an  architrave. 

An  ornamental  molding  for  an  arcb  to  spring  from,  is 
called  an  impost. 

The  stone  at  the  top  of  an  arch,  which  often  projects,  is 
called  a  key -stone. 

The  small  brackets  under  the  corona  in  the  cornices  are 
called  mutules  or  modillions ;  if  they  are  square  or  longer 
in  front  than  in  depth  they  are  called  mutules,  and  are 
used  in  the  Doric  order.  If  they  are  less  in  front  than  their 
depth,  they  are  called  modillions,  and  in  the  Corinthian  or- 
der have  carved  leaves  spread  under  them. 

A  truss  is  a  modillion  enlarged  and  placed  flat  against  a 
wall,  often  used  to  support  the  cornice  of  doors  and  win- 
dows. 

A  console  is  an  ornament  like  a  truss,  carved  on  a  key- 
stone. 

Trusses  when  used  under  modillions  in  the  frieze  are 
called  cantalivers. 

The  space  under  the  corona  of  the  cornice  is  called  a 
soffit ;  as  is  also  the  underside  of  a"  ^-«h. 


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Dentils  are  ornaments  used  in  the  bed  molds  of  cornices  j 
they  are  parts  of  a  small  flat  face  which  is  cut  perpendicu- 
larly, and  small  intervals  left  between  each. 

A  flat  column  is  called  a  pilaster,  and  those  which  are 
used  with  columns  and  have  a  different  capital  are  called  antoea. 

A  small  hight  of  paneling  above  the  cornice  is  called 
an  attic,  and  in  these  panels  and  sometimes  in  other  parts 
are  introduced  small  pillars,  swelling  toward  the  bottom  which, 
are  called  balusters,  and  a  series  of  them  a  balustrade. 

If  the  joints  are  channeled  the  work  is  called  rustic, 
which  is  often  used  as  a  basement  for  an  order. 

Columns  are  sometimes  ornamented  by  channels,  which 
are  called  flutes.  These  channels  are  sometimes  partly 
rilled  by  a  lesser  round  molding ;  this  is  called  cabling  the 
flutes. 

For  the  better  understanding  the  various  orders  it  will 
be  proper  first  to  notice  the  different  moldings  which  by 
different  combinations  form  their  parts. 

First. — The  ovolo  or  quarter  round. 

Second. — The  cavetto  or  hollow. 

Third. — The  torus  or  round. 

From  the  composition  of  these  are  formed  divers  others, 
and  from  the  arrangement  of  these,  with  plain  flat  spaces 
between,  are  formed  cornices  and  other  ornaments.  A 
large  space  is  called  a  corona  if  in  the  cornice  ;  a  fascia  in 
the  architrave  ;  and  the  frieze  itself  is  only  a  flat  space. 
A  small  flat  face  is  called  a  fillet  or  listel,  and  is  interposed 
between  moldings  to  divide  them. 

A  fillet  is  in  the  bases  of  columns  and  some  other  parts 
joined  to  a  face  or  to  the  column  itself  by  a  small  hollow, 
then  called  apophyges. 

The  torus,  when  very  small,  becomes  an  astragal,  which 
projects,  or  a  bead,  which  does  not  project. 

Compound  moldings  are  the  cyma  recta,  which  has  th« 
hollow  uppermost  and  projecting. 

The  cyma  re  versa,  or  ogee,  which  has  the  round  upper- 
most and  projecting. 

The  Scotia,  which  is  formed  of  two  hollows,  one  over 
the  other,  and  of  different  centers. 

Several  beads  placed  together,  or  sunk  in  a  flat  fact*  arc 
sailed  reedings. 


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All  these  moldings,  except  the  fillet,  may  be  occasionally 
carved,  and  they  are  then  called  enriched  moldings. 

From  these  few  simple  forms,  by  adding  astragals  and 
fillets  and  combining  differently  ornamented  moldings,  faces 
and  soffits,  are  all  the  cornices,  panels,  etc.,  formed,  and 
the  modern  compositions  in  joiners'  work,  etc.,  fresco  paint- 
ers, builders,  etc.,  are  very  numerous,  and  too  well  known 
to  need  describing. 

For  human  figures  or  animals,  fruit,  flowers,  etc.,  the 
student  must  supply  himself  with  good  specimens,  either 
lithographs  or  good  prints  of  any  kind,  and  practice  from 
them  until  he  has  acquired  sufficient  knowledge  of  propor- 
tions, form,  size,  etc.,  to  suit  the  various  positions  to  which 
they  may  be  applied ;  true  proportions  are  of  vital  importance 
to  the  fresco  painter,  as  his  drawing  will  be  about  the  first 
point  of  criticism  to  which  he  will  find  himself  liable,  even 
more  so  than  to  his  shading  or  coloring.  For  it  matters 
little  how  well  coloring  or  shading  may  be  executed  if  the 
drawing  is  deficient.  Therefore  let  the  pupil  persevere  in 
this  branch  of  the  art. 

In  drawing  flowers  the  center  should  be  drawn  first,  as 
by  spreading  outward,  the  graceful  and  ever  varying 
forms  of  nature  in  every  stem  and  leaf  may  be  more  easily 
expressed. 

In  the  subsequent  operation  of  coloring  them  they  require 
much  more  attention  than  any  other  part  of  the  work,  so 
as  to  produce  a  soft  and  accurate  effect;  but  not  an  equal 
degree  of  skill  and  experience  to  produce  a  beautiful  whole. 

In  this  kind  of  drawing,  as  in  every  other,  the  first  lesson 
should  be  obtained  by  following  the  draughts  of  the  most 
skillful  masters,  comparing  their  productions  at  the  same 
time  with  nature.  As  flower  pieces  are  inspected  with 
almost  microscopic  attention  the  fibers  and  figure  of  every 
leaf  must  be  distinctly  expressed.  Flowers  which  do  not 
blow  at  the  same  season  of  the  year  should  never  be  grouped 
together. 

In  drawing  fruit  great  care  is  to  be  taking  in  assorting 
or  arranging  them  so  as  to  produce  the  most  imposing 
effect.  So  place  them  as  regards  color,  size,  etc.,  with  an 
easy  carelessness  that  they  may  by  such  freedom  of  position 
aid  the  pupil  in  producing  a  good  harmonious  painting. 


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225 


FIGURE  PAINTING, 

As  before  stated,  requires  correct  proportions,  good 
coloring,  great  ease,  and  a  general  softness  throughout, 
to  be  graceful  and  mellow  in  tint,  avoiding  cold  or  harsh 
shading,  etc.,  having  always  in  view  the  fact  that  this  par- 
ticular branch  of  the  art  demands  consummate  skill  and* 
great  truthfulness. 

OF  LIGHT  AND  SHADE. 

When  a  ceiling  or  side  paneling  is  drawn  out  carefully, 
and  the  pupil  is  satisfied  that  all  is  in  due  proportion  and 
correct  to  the  order  desired,  the  next  point  of  consideration 
will  be  to  judge  from  what  particular  side  of  the  room  the 
light  falls  from  and  upon  the  objects  drawn,  so  that  all  the 
shadows  may  fall  one  way,  and  of  course  from  the  light. 

That  part  of  design,  panels,  scrolls,  etc.,  whose  sides 
are  nearest  the  quarter  from  which  the  light  comes,  must 
be  the  brightest,  and  the  remainder  must  be  gradually 
darkened. 

Surfaces  which  are  wished  to  project  being  nearer  the 
light  than  others,  must  be  sharp  and  well  illumined  where 
the  enlightened  side  can  be  seen.  The  faintest  lines  should 
be  put  in  first,  proceeding  gradually  to  the  darkest.  All 
shades  should  be  rather  too  light  at  first,  that  they  may  be 
worked  up  gradually  to  the  full  effect. 

All  strong  lights  must  be  relieved  by  deep  shades,  but  it 
must  be  remembered  that  strong  reflections  diminish  and 
always  soften  the  shades  cast  by  the  original  light,  so  as, 
in  some  instances  to  make  the  side  of  a  body  which  retires 
TOra  the  light  brighter  than  a  nearer  part. 

It  is  by  the  reflection  of  light  received  from  the  sky  or 
terrestrial  surfaces  that  the  darkest  part  of  cylindrical  and 
globular  bodies,  is  not  that  which  is  the  most  distant  from 
the  original  light ;  and  from  the  peculiar  nature  of  the  re- 
flection from  such  surfaces,  when  the  light  falls  on  one 
side  of  them,  the  lightest  part  is  not  always  that  which  is 
nearest  the  light. 

In  shading  an  upright  round  pillar  for  example,  a  small 
portion  of  the  side  nearest  the  light,  supposing  the  light 


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to  come  from  one  side,  should  be  a  little  shaded ;  the  next 
portion  should  exhibit  the  strongest  light,  which  in  water 
color  will  be  almost  the  ground  color  unless  the  ground 
be  dark,  then  it  will  have  to  be  run  in  almost  pure  white. 

Then  will  come  the  deepest  shade,  and  lastly  a  shade 
for  the  further  side  somewhat  deeper  than  the  one  on  the 
side  nearest  the  light.  These  shades  duly  softened  into 
each  other  will  give  the  idea  of  a  round  body. 

Titian  declared  that  the  best  lessons  he  ever  received  on 
the  distribution  of  light  and  shade  were  derived  from 
studying  and  drawing  bunches  of  grapes. 

Having  as  briefly  as  possible  laid  down  the  most  useful 
preliminary  studies  ia  the  art  of  fresco  painting,  as  far  as 
architecture,  light  and  shade,  etc.,  etc.,  are  concerned,  we 
will  now  proceed  with  an  outline  of  the  method  of  prepar- 
ing ceilings,  walls,  etc.,  and  also  the  proper  mixtures  for 
laying  the  grounds,  stiles,  etc.,  preparatory  to  running  in 
the  lines  to  form  panels,  ornaments  and  decorations. 

If  the  walls  and  ceilings  are  new  plaster  (that  is  clean). 
I  would  prefer  giving  them  a  good  coat  of  paint  previous 
to  using  the  distemper  colors,  and  for  the  best  of  reasons, 
for  by  so  doing  you  insure  against  stains  or  a  striking  in  of 
your -distemper  coats,  which  is  very  apt  to  occur  if  not 
painted. 

The  first  coat  of  paint  should  be  mixed  about  two-thirds 
turpentine  and  one-third  linseed  oil,  with  as  much  japan 
drier  as  will  dry  it  hard  ;  too  much  oil  would  be  liable  to 
bear  out  so  as  to  cause  your  distemper  color  to  crawl  and 
not  lay  well,  therefore  better  err  upon  the  other  side,  viz.  : 
too  much  turpentine  rather  than  oil. 

When  thoroughly  dry  have  good  glue  in  readiness,  first* 
prepared  by  steeping  it  over  night  in  water  to  soften,  then' 
melt  in  a  suitable  pot  or  kettle,  and  be  cautious  not  to 
overheat  it  in  melting ;  in  fact  it  ought  never  to  boil,  for 
boiled  glue  never  works  well  and  soon  spoils  in  mixed 
color. 

Then  have  good  Paris  whiting,  take  as  much  as  you 
think  you  will  require  for  the  amount  of  work  you  intend 
to  first  coat,  beat  it  up  thick  with  water,  be  sure  that  you 
have  it  all  reduced  to  a  perfect  pulp,  no  lumps. 

Then  take  a  working  pail,  and  put  in  as  much  of  your 


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227 


beat-up  whiting  as  will  go  over  your  intended  piece  of 
work. 

Then  take  the  colors  required  to  produce  the  shade 
wanted  (the  colors  previously  ground  in  water)  and  cau- 
tiously mix  with  the  hand,  which  is  preferable  to  a  spatula 
or  stick,  till  you  get  the  shade  desired,  which  you  can  prove 
very  easily  by  drying  a  little  on  your  hand  or  on  a  piece 
of  white  paper;  if  too  dark,  add  more  whiting,  or  if  too 
light,  more  color.  When  you  have  got  the  tint  to  your 
mind,  take  your  melted  glue  and  put  in  enough  to  bind 
the  color  very  hard  so  as  not  to  rise  or  wash  up  with  your 
second  coat.  This  you  can  also  test  upon  a  piece  of  paper 
before  you  lay  the  color  upon  your  plaster,  ceilings  or 
walls,  for  by  neglecting  to  have  sufficient  size  or  glue  in 
your  color  your  second  coat  will  mix  up  with  your  first, 
and  the  two  will  roll  and  gather  thereby  spoiling  your 
work ;  the  result  of  which  will  be  that  you  will  have  to 
sponge  off  both  coats  with  water,  thus  loosing  your  time  and 
materials,  and  suffering  disappointment  and  mortification 
besides,  for  your  neglect. 

If  all  goes  well  you  will  find  that  two  coats  will  be  suffi- 
cient in  the  most  of  cases,  and  ought  to  be  made  a  rule  as 
far  as  possible  to  manage  ceilings  with  two  coats. 

Having  now  got  the  plane  of  your  ceiling  or  wall  done 
you  now  proceed  to  mix  up  the  color  for  the  stiles  or  bord- 
er, and  carry  out  a  similar  procedure  with  them  until  all 
looks  smooth  and  solid,  and  if  satisfied  with  the  color  and 
its  covering  qualities  you  next  proceed  to  mix  up  all  your 
shades  for  drawing  your  moldings  as  above  directed,  viz.  : 
run  all  your  light  lines  first,  then  the  secondaries,  deep, 
etc.,  relief,  etc.,  until  the  molding  yields  a  just  resemblance 
to  the  order  required ;  the  corner  pieces  can  now  be  acted 
upon,  all  cut  in  with  the  same  colors  ;  when  the  last  touches 
Hie  put  in  let  the  edges  be  cut  sharp  and  crisp,  and  do  not 
forget  the  relief  shadows  to  them  also.  Now  examine  the 
whole  work  carefully  so  that  nothing  shall  be  left  undone 
or  forgotten. 


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CENTER  PIECES  WITH  FLOWERS. 

If  flowers  are  to  be  put  in  panels,  first  draw  them  cor- 
rectly, then  proceed  to  color  them  according  to  nature  if 
so  wanted,  then  lay  in  a  suitable  ground  around  the  group 
up  to  the  molding,  let  it  be  a  somber  neutral  color  so  as  to 
sink  the  ground  and  relieve  the  flowers.  If 

FLOWERS  IN  RELIEF, 

Ton  work  them  out  in  the  same  colors  as  was  used  in 
the  moldings  of  the  ceiling,  giving  the  group  a  strong  re- 
lief shade ;  but  do  not  lay  in  any  other  ground  but  simply 
the  panel  color. 

Some  fresco  painters  lay  such  panels  in  a  different  color,  I 
but  I  question  if  that  taste  adds  anything  to  the  general 
beauty  and  chasteness  of  the  ceiling ;  it  is  too  gaudy,  too 
much,  to  use  the  vulgar  term,  "  ginger  bread  style."  Yet 
some  parties  will  have  such  work,  and  to  please  sometimes 
the  artist  has  to  give  way ;  but  always  suggest,  where  it 
is  safe  to  do  so,  if  for  no  other  reason  than  to  put  yourself 
in  a  proper  position  before  the  public  on  such  matters.  It 
is  the  duty  of  an  artist  to  state  what  is  the  right  harmony, 
etc.,  whether  adopted  or  not  by  the  employer. 

COLOR  FOR  CEILINGS,  WALLS,  ETC. 

Regarding  suitable  colors  for  interior  decoration,  there  is 
several  considerations  of  importance  which  must  be  here 
noticed. 

First,  the  kind  of  building  and  its  use,  a  church,  a  public 
hall  or  dwelling  house ;  also  the  position  of  the  house  in 
reference  to  the  cardinal  points  of  the  compass,  north, 
south,  east  or  west,  for  the  following  reasons,  viz.  : 

If  a  south  or  west  exposure,  that  portion  of  the  house 
will  have  a  large  share  of  sunlight,  consequently  a  natural 
warm  glow  of  heat,  while  the  north  and  east,  although 
possessed  of  sufficient  light,  as  a  natural  result,  a  certain 
coolness  consequent  to  the  want  or  absence  or  nearly  so  of 
direct  sunlight. 

Therefore  for  south  or  west  exposure  it  will  be  seen  at 


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229 


glance  that  cool  colors  must  be  selected,  as  a  want  of  this 
knowledge  might  cause  the  most  disagreeable  feelings  to 
those  who  had  to  endure  the  effects,  although  they  might 
be  altogether  ignorant  of  the  cause  (by  the  painter)  through 
neglect,  or  want  of  knowing  why,  this  disagreeable  feeling 
was  induced. 

And  vice  versa  for  rooms  situated  on  the  north  or  east 
side  of  a  house.  The  colors  must  be  of  a  warmer  shade  or 
tint;  thus,  during  the  warm  season  the  effects  of  color  up- 
on the  mind  is  such  as  to  produce  an  equilibrium. 

So  that  any  person  passing  through  a  house  at  any  sea- 
son of  the  year  would  not,  upon  leaving  a  room  on  the 
north  or  east  portion  of  the  house  to  go  into  one  in  the 
south  or  west  sides,  feel  any  considerable  change,  if  any,  it 
would  be  but  momentary,  for  the  colors  of  the  two  would 
immediately  blend  or  harmonize  so  as  to  produce  a 
pleasing  sensation.  The  effect  of  color  thus  has  the  power 
to  some  extent  to  equalize  to  the  senses  a  feeling  of  nearly 
an  even  temperature. 

CHURCH  COLORS. 

In  referring  to  church  decorations,  much  difference  of 
opinion  exists.  Many  hold  as  a  fixed  rule  that  churches  in 
particular  must  have  a  somber  monastic  gloom.  Such 
take  the  idea  from  visiting  ancient  buildings,  the  relics  of 
past  ages,  which,  on  account  of  their  walls  being  generally 
built  of  stone,  and  that  stone  work  being  the  interior  finish 
without  plaster,  such  churches  do,  no  doubt,  while  lighted 
by  stained  glass  and  heavy  stone  work  in  their  windows, 
etc.,  cast  a  dull,  melancholic  gloom.  But  this  result  by  no 
means  claims  it  as  a  necessity  that  such  cold,  forbidding 
colors  should  be  a  standard  to  the  present  age. 

And  further  we  take  the  ground  that  dark  somber  colors 
have  nothing  to  do  with  producing  religious  feelings  or  awe. 
Decorations,  colors,  etc.,  style  or  order,  ought  to  be  care- 
fully selected  and  in  good  keeping,  which  should  be  such 
as  to  cherish  a  true  sensibility  of  christian  feeling,  altoge- 
ther free  from  all  depressing  circumstances  or  causes  such 
as  cold,  raw,  uncongenial  mixtures  have  the  natural  ten* 
dency  to  produce  upon  the  mind. 


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At  the  same  time  avoid  all  such  colors  as  would  be  suit- 
able for  theater  decoration .  Rather  choose  a  modest,  plea- 
sant class  of  tints,  a  medium  between  the  two,  neither  too 
bright  and  lively  nor  too  dull  and  monotonous. 

PUBLIC  HALLS  OR  LECTURE  ROOMS.  ; 

\ 

The  best  class  of  colors  for  such  buildings  are,  or  ought 
to  be,  pleasant,  light,  agreeable  tints,  neither  too  warm, 
nor  in  the  other  extreme,  too  cold.  They  require  to  be 
colors  easily  lighted,  pure  mixtures,  not  muddy  but  airy. 
Beautiful  gray  tints  for  the  ceiling  panels ;  pleasant  cool 
buffs  or  drabs  for  the  divisions  or  stiles,  which  can  be 
broken  up  well  in  neutral  tints,  all  combining  to  produce  a 
sweet  harmony. 

Ceilings  so  done  require  to  have  the  walls  in  keeping, 
only  giving  your  colors  more  tone  or  force,  dividing  judici- 
ously the  various  tints  throughout  the  cornice,  etc.  Artificial 
moldings  always  partake  of  the  color  of  the  stiles,  and  are 
always  allowed  for  in  drawing  out  the  breadth  of  your  stiles. 
The  order  you  select  will  always  guide  you  in  finding  the 
various  members  constituting  the  molding  required,  etc. 

DWELLING  HOUSES. 

The  interior  decorations  of  dwelling  houses  admits  of 
more  latitude.  Here  the  painter  has  ample  scope  for  the 
introduction  of  variety,  as  all  colors  consistent  with  the 
art  of  house  decoration  can  be  used  with  impunity. 

Still  we  would  advise  that  colors  of  a  chaste  and  pleas- 
ant character  ought  to  be  the  general  rule. 

Let  the  panel  of  the  ceiling  be  of  a  tone  of  color  agree- 
able and  in  unison  with  all  the  other  arrangements,  for  in- 
stance; ascertain  the  color  selected  for  the  upholstery,  car- 
pets, etc.  (if  already  a  furnished  house),  then  the  colors  can 
be  made  up  in  complete  harmony.  You  can  judge  at  once 
those  colors  that  will  be  suitable  not  only  for  the  panel, 
stile  and  cornice,  but  also  for  the  walls  ;  and  can  also  see 
what  the  contrasting  shades  ought  to  be  to  give  the  true 
tone  and  character  to  the  whole. 

For  panels  grays  of  various  shades  are  employed,  vary- 


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ing  from  the  delicate  French  white  to  the  decided  French 
gray  and  lilac,  compositions  of  white,  blue,  red  and  black. 

As  already  mentioned,  whiting  for  the  base  of  almost  all 
the  shades  required.  Ultramarine  blue,  cobalt,  Prussian 
and  verditer  being  the  blues  generally  used.  Indian  red, 
Venetian,  vermilion,  lake,  carmine  and  sometimes  orange 
mineral ;  but  for  large  surfaces  it  ought  to  be  avoided,  as 
it  will  be  liable  to  sink  owing  to  its  great  density. 

The  only  blacks  to  be  relied  on  are  the  blue  black  and 
the  Frankfort,  or  pure  ivory  black.  Lamp  black  ought 
to  be  discarded,  as  it  is  generally  foul  and  greasy. 

Pink  or  rose  tints  are  got  by  a  mixture  of  red  with  white, 
employing  any  of  the  reds  most  suitable  for  the  shade  re- 
quired ;  if  very  rich,  carmine  or  lake,  vermilion  or  Venetian 
r  ed  ;  Indian  red,  if  not  wanted  bright. 

Gheens. — Any  good  chrome  green  will  answer  ;  mineral 
and  Paris  greens  are  of  the  first  importance  when  bright 
greens  are  wanted,  and  works  very  clean. 

Buffs  OR  Drabs. — A  great  variety  of  shades  of  that 
class  or  color  can  be  attained  by  a  mixture  of  yellow  ocher, 
red,  blue  or  black.  Some  introduce  umber  to  great  ad- 
vantage in  drabs  or  buffs.  If  wanted  cool  add  more  blue 
or  black  and  keep  out  the  red,  or  subdue  it  nearly. 

Chrome  yellow  of  various  shades  can  be  used,  and  if  only 
used  with  discretion  is  a  valuable  color,  but  bear  in  mind 
that  chrome  is  a  color  of  great  strength,  and  has  to  be  used 
with  caution  and  judgment. 

These  shades  can  also  be  improved  if  they  are  wanted 
warm  and  mellow,  by  the  addition  of  terra  de  sienna,  either 
in  its  native  raw  state,  or  calcined,  known  as  burned  terra 
de  sienna ;  it  gives  a  fine  warm  tone  to  those  colors. 

If  cool  buffs  or  drabs  are  wanted,  umbers  can  be  intro- 
duced with  effect,  both  raw  and  burned,  producing  great 
variety  of  color  in  mixture  with  or  without  yellow  ocher. 
chrome  yellow  or  raw  sienna.  The  Turkey  umber  is  supe- 
rior to  the  English  or  American,  being  a  more  pure  earth 
acd  stands  better. 


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BROWNS  FOR  SHADING,  ETC. 

Burnt  umber,  Vandyke  brown,  oxyde  of  iron  (commonly 
called  "  colcother"),  purple  brown,  burnt  ocher,  burnt 
sienna,  etc.  Burnt  sienna  and  ultramarine  in  mixture  ;  a 
beautiful  shading  color,  not  too  much  of  the  blue  to  show 
it. 

Always  recollect  that  for  ground  colors  the  mixed  whit- 
ing is  the  base  of  composition. 

In  finishing  panel  work,  where  order  is  not  entirely  bind- 
ing, colors  can  be  introduced  which  has  a  very  fine  effect ; 
such  as  parting  lines,  sometimes  red  brown,  green  or  blue. 

These  are  simply  to  divide  contrasting  or  strong  colors, 
and  assist  very  much  in  relieving  the  whole  work  and  gen- 
eral effect.  But  the  pupil  must  be  very  cautious  in  intro- 
ducing such  auxiliaries,  for  many  times  good  colors,  fair 
workmanship  and  contrast  has  been  destroyed  by  such  in- 
troductions, placing  such  strong  tints  where  they  really 
were  not  required,  or  of  an  improper  tone  to  produce  har- 
mony. \ 

CEILINGS  ORNAMENTED  WITH  GOLD. 

Sometimes  a  ceiling  is  relieved  by  gilding.  The  center 
pieces,  corner  ornaments,  a  member  of  a  molding,  etc.,  are 
required  to  be  so. 

Then  the  student  must  select  some  of  the  projecting  or 
prominent  parts,  and  having  sized  in  for  gilding,  after  which 
he  must  have  his  cushion,  tip,  cutting  knife,  etc.,  all  in 
readiness,  also  a  ball  of  soft  cotton,  large  camel  hair  brush 
for  dusting  off  all  the  surplus  gold,  etc.  Then  place  your 
gold  leaf  upon  the  cushion,  take  your  knife  and  cut  it  into 
strips  of  a  proper  size,  draw  your  tip  across  your  hair 
(having  first  drawn  a  piece  of  pure  tallow  over  the  hair  so 
that  a  slight  touch  will  cause  the  tip  to  lift  up  and  carry 
the  leaf  to  the  piece  of  work  to  be  gi/lded),  then  use  the 
ball  of  cotton  to  lay  it  down,  and  clean  off  with  the  camel 
hair  brush,  etc. 

The  size  for  gilding  upon  ceilings,  etc.,  when  a  distem- 
per ground  is  laid,  no  oil  size  can  be  used  without  first 
running  all  the  member  in  with  a  preparation  sizing  such 


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as  gum  water,  weak  glue,  or  thin  shellac  varnish  (bleached) 
so  as  to  keep  the  oil  size  from  staining  or  running.  To 
obviate  this  trouble  and  save  time  an  excellent  size  for 
such  work  can  be  made  by  intimately  mixing  with  thick 
glue  a  little  fine  pure  honey.  This  is  what  is  called  by 
the  French  artists  "  batture."  They  contend  that  this  size 
hightens  the  color  of  the  gold,  and  such  experience  will 
teach  the  student  is  the  case  j  it  also  gives  the  gilding  a 
fine  luster,  closely  resembling  burnished  gilding. 

PAINTING  VESTIBULES  AND  HALLS  TO  STAND 
WASHING,  etc. 

The  walls  must  be  prepared  with  oil  paint,  same  as  for 
any  other  painted  wall,  only  the  last  coat  must  be  u  dead  "  or 
"flat;"  that  is,  no  oil  used  in  the  last  coat,  only  spirts  of 
turpentine.  In  the  last  or  flat  coat  there  ought  to  be  a  little 
good  pale  copal  varnish,  about  one  tablespoonful  to 
twenty-five  pounds  of  paint;  this  gives  a  better  and  harder 
surface  to  the  wall,  and  bears  handling  much  safer,  for  no 
man  can  fresco  a  wall  entirely  free  of  some  casual ity  oc- 
curring, such  as  charcoal  lines  to  dust  off,  a  drop  might  fall 
from  the  brush,  etc.,  and  the  varnish  will  enable  the  student 
to  wash  very  lightly  if  anything  should  happen  to  require  it. 

Before  the  wall  receives  the  last  two  coats,  let  the  de- 
sign or  paneling  be  all  correctly  drawn  out. 

Then  mix  the  colors  to  the  required  tints  (in  oil),  lay  in  the 
panels  first ;  then  the  stiles,  and  when  thoroughly  dry,  put 
on  the  flat  or  last  coat  (spirit  color).  The  work  will  be 
dry  for  paneling  in  a  few  days. 

MIXTURE  OF  COLORS  FOR  THE  PANELING 
OF  AYALLS  OR  VESTIBULES. 

Common  spirits  of  turpentine  for  the  mixing  of  the  finish- 
ing colors  is  found  to  work  too  spare,  does  not  cover  very 
well,  and  cannot  be  bound  enough  to  stand  the  frequent 
passing  upward  and  downward  which  is  required  with  the 
brush  in  running  moldings  or  lines. 

Therefore  the  following  mixture  is  found  to  answer  the 
purpose  very  well,  viz.  :    Turpentine,  a  little  white  wax, 


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a  little  mastic  varnish,  and  a  little  fine  pale  damar  varnish. 
The  quantity  cf  the  varnish  must  be  very  small,  other- 
wise a  gloss  would  be  produced  which  would  not  die  down 
flat  in  drying ;  all  that  is  r.  quired  by  such  a  vehicle  is 
simply  to  cause  the  color  to  hold  or  set  quickly,  so  that 
the  work  can  be  more  expeditiously  carried  on.  / 

A  little  practice  will  soon  teach  the  student  the  quantP 
ties  required,  for  it  is  not  possible  to  give  correct  proportions ? 
for  those  mixtures  ;  besides  every  painter  has  some  par- 
ticular mixture  to  which  he  prides  himself.    The  above 
will  answer  all  purposes. 

In  preparing  old  walls  or  ceilings  sometimes  there  are 
stains,  cracks,  etc.,  in  the  plaster;  these  can  be  best  seen 
after  the  old  color  has  been  removed  by  washing,  which 
must  always  be  done  the  first  thing ;  then  mend  all 
the  blemishes  in  the  plaster  with  size  putty  if  small, 
or  if  deep  cracks,  taking  plaster  of  Paris  and  a  little  putty 
lime,  enough  merely  to  keep  the  other  from  setting 
too  quick.  Damp  all  the  places  with  a  brush  and  water, 
then  apply  the  plaster  with  a  small  trowel  or  knife,  and 
finally  wash  and  smooth  over  the  places  to  make  good 
sound  mendings.  When  dry,  give  a  coat  of  shellac  var- 
nish to  all  the  mendings. 

After  all  the  necessary  repairs  are  hard  and  dry,  if  the 
ceiling  or  wall  is  not  to  have  a  coat  of  paint,  a  prepara- 
tion coat  in  size  will  be  necessary.  This  is  a  mixture  of 
whiting  with  an  extra  quantity  of  melted  glue,  to  which  must 
be  added  a  small  amount  of  alum )  give  the  plaster  a  full 
coat  of  that,  allowing  a  full  day  to  harden  before  the 
second  coat  is  applied  5  in  most  cases  the  second  coat  is 
sufficient  if  the  first  coat  has  been  nearly  of  the  required 
color.  But  always  have  enough  of  size  in  the  second  coat 
to  have  it  well  bound,  for  it  may  happen  that  a  third  coat 
may  be  required  to  make  a  good  fair  surface. 

Still  it  is  highly  necessary  to  avoid  too  much  accumula- 
tion of  color,  as  it  is  liable  to  produce  a  roughness  or  harsh- 
ness, which  is  at  once  detected  even  by  the  inexperienced 
eye. 

Always  give  a  coat  u  full  flowing."  Never  attempt  to 
rub  out  the  color,  for  such  scantiness  of  color  will  be  sure 
to  ruin  all  your  expectations  and  prove  a  failure. 


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235 


NECESSARY  IMPLEMENTS. 

A  marble  slab,  to  grind  all  the  colors  not  to  be  bad 
ground  at  the  color  shops. 
A  good  pallet  knife. 
A  stopping  knife, 
A  small  trowel. 
A  square. 

A  set  of  straight  edges. 

A  T  square. 

One  pair  compasses. 

One  scale  for  measurement.  (Gunther.) 
One  foot  rule. 
Chalk  line. 

Colored  chalks  or  crayons. 
Charcoal  for  drawing  lines. 
Flat  nailed  stock  brushes,  or  tin  bound. 
Round  wire  bound  brushes  for  cornices,  eto. 
Sash  tools,  six  sizes,  from  No.  2  to  8. 
Flat  French  tools  for  drawing  lines,  etc. 
Round  quill  or  tin  bound  tools,  various  sizes,  from  small 
Co  large. 

Sable  pencils,  long  and  short,  to  use  on  scrolls,  flowers, 
center  pieces,  etc.,  ;md  various  other  purposes. 
An  assortment  of  wood  pails. 
Stone  pots,  large  and  small. 
Tin  cups,  large  and  small. 
Tin  cans,  one  dozen  or  two,  assorted  in  size 
Step  ladders. 

Tressels  for  scaffolds,  assorted  bights ;  planks,  etc. 
One  glue  pot,  double  made. 

One  tin  basin,  wire  bottom,  for  straining  colors  after  the 
size  is  put  in  to  remove  any  extraneous  matter  in  the  color. 

Any  other  necessary  article  omitted,  can  be  supplied 
when  needed. 

And  here  I  would  sum  up  with  a  few  useful  remarks  by 
way  of  conclusion. 

Knowledge  is  the  grand  element  of  decision  in  all  things, 
and  no  less  so  in  painting ;  and  we  should  neglect  no  means 
placed  at  our  disposal  of  attaining-  that  element. 

The  same  avenues  of  information  are  open  to  us  all  that 


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supplied  the  minds  of  Rubens  and  Titian,  if  we  will  but 
resolve  to  apply  them. 

The  peculiar  feature  of  fresco  painting  is  what  may  be 
called  "roughness;"  and  what  some  people  would  apolo- 
gize for  on  account  of  "want  of  finish,"  by  saying  that 
more  finish  is  important,  for  that  at  a  distance  it  would  not 
be  seen. 

But  this  is  a  very  unfair  and  insufficient  view  of  the 
matter.  Not  only  is  there  no  occasion  for  more  finish  in 
fresco  painting  ;  but  properly  speaking  it  is  highly  finished 
already.    It  is  a  mere  question  of  focus. 

To  finish  a  piece  of  work,  is  to  regulate  and  complete 
the  various  parts  in  conformity  to  the  whole,  and  this  effect 
once  accomplished,  all  beyond  tends  to  undo  instead  of 
completing  the  painting. 

By  attempting  more  finish  you  would  obtain  less,  for  the 
real  finish  in  fresco  painting  is  gained  by  keeping  the  tints 
bold  and  firm,  that  they  may  blend  well  when  reviewed 
from  a  distance.  ^ 

TO  PREPARE  TRACING  OR  TRANSPARENT 
PAPER. 

Take  one  quart  of  spirits  of  turpentine,  one  quarter  of 
an  ounce  of  sugar  of  lead  finely  powdered,  shake  it  up  and 
let  it  stand  for  two  days  ;  then  pour  off  and  add  to  it  one 
pound  of  pure  Canada  balsam,  set  it  in  a  gentle  sand  heat 
and  keep  stirring  it  until  it  is  quite  mixed,  when  it  will  be 
fit  for  use.  Then  have  your  paper  ready  on  a  smooth 
board,  brush  it  over,  and  hang  it  up  to  dry.  In  about 
four  days  it  will  be  fit  for  use. 

This  paper  will  be  extremely  transparent.  The  most 
suitable  paper  is  bank  post,  and  when  for  very  nice  pur- 
poses, use  fine  tissue  paper. 

COPYING  OR  TRACING  SHEETS. 

Take  some  hard  soap  and  lamp  black,  and  mix  them  to- 
gether to  the  consistency  of  jelly.  Brush  over  one  side  of 
any  smooth  paper  with  this  composition  and  let  it  dry. 
Place  the  colored  side  of  this  paper  upon  a  clean  sheet  on 


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237 


a  smooth  table  ;  over  both  these  lay  any  design  to  be 
copied,  and  trace  its  outlines  with  a  metallic  or  ivory  point 
just  sufficiently  blunted  to  prevent  its  cutting  the  paper. 
The  colored  paper,  wherever  it  is  pressed  upon  by  the 
point,  will  make  a  mark  on  the  white  sheet  it  covers,  and 
the  lowermost  sheet  will  by  this  means  receive  ihe  whole 
design. 

Black  lead,  vermilion,  or  any  other  coloring  matter  may 
be  employed. 

In  copying  any  ornament  from  the  sheet,  use  the  precau- 
tion to  fasten  your  sheets  securely,  for  a  shift  of  any  of 
them  would  make  a  false  copy. 

POUNCING  ORNAMENTS  OF  ANY  KIND. 

Prick  the  outlines  of  any  design  to  be  copied  with  small 
pin  holes,  very  near  to  each  other.  Place  the  design  to 
be  copied  upon  a  clean  sheet  of  paper,  and.  dust  it  over 
with  finely  powdered  charcoal  from  a  muslin  bag.  The 
charcoal  will  penetrate  through  the  pin  holes,  and  upon 
lifting  up  the  pricked  paper,  the  design  will  be  found  upon 
the  sheet  beneath  it.  The  pricked  paper  will  serve  many 
times,  and  ought  to  be  carefully  laid  away  for  use  upon 
some  other  occasion. 

Correct  copies  of  any  scroll  or  design  can  be  thus  trans- 
ferred to  a  ceiling  or  wall  with  ease,  and  saves  »11  the 
trouble  and  time  in  repeating  drawings. 

STENCILING.* 

Draw  any  design  necessary  (o  ornament  flowered  mold- 
ings, trusses,  friezes,  etc.,  and  with  a  sharp  knife  cut  out 
the  principal  parts  of  the  drawing,  only  leave  as  much  as 
will  connect  and  keep  together  the  sheet  in  due  form,  then 
take  a  short  brush  with  the  color  required,  and  not  too 
thin,  pass  over  the  sheet  carefully  avoiding  the  liability 
of  under-blotting,  wheu  the  design  will  be  painted  entire 

*Ho\v  to  Pimjwrh  Paper  fob  Stenciling.—  Co:>t  the  sheets 
of  paper  with  boiled  oil  first  emit,  then  give  them  three  more  coats 
of  oil  paint,  they  will  then  stand  (lie  mixture  of  the  water  color  and 
action  of  the  brush. 


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(with  the  exception  of  the  small  parts  where  the  connec- 
tions were),  which  can  be  touched  up  with  a  small  brush 
with  the  same  color. 

This  method  saves  a  great  amount  of  labor,  and  for  such 
pieces  of  work  answers  very  well ;  all  that  has  to  be  done 
is  simply  to  put  in  the  shade  lines  along  with  the  others. 
Many  ornaments  are  done  in  this  manner,  and  to  the  fresco 
painter  is  a  great  economizer  of  time.  Every  appliance 
that  can  be  adopted  ought  to  be  brought  into  requisition 
to  lessen  labor,  and  thereby  add  to  the  remunerative  in- 
terests of  physical  action. 

In  conclusion,  I  would  say,  persevere  and  the  result  is 
sure. 

ORDERS  OF  ARCHITECTURE. 

The  painter  of  interiors  has  constant  use  for  pillars, 
columns  and  pilasters.  We  give,  therefore,  a  specimen 
column  of  each  principal  order  of  architecture,  with  the 
technical  designations  of  each  part.  The  painter  must 
constantly  remember  that  these  are  only  flat  representa- 
tions of  solid  bodies,  and  he  should  study  every  fine  row 
of  columns  that  may  come  under  his  observation,  and 
enlarge  his  knowledge  by  the  study  of  some  complete  work 
on  architecture ;  and  following  these  pillars  we  give  a  few 
designs  for  ceilings  in  fresco.  Also  an  ornamental  scroll 
and  a  border  for  several  colors.  But  the  painter  in  active 
practice  will  constantly  find  use  for  larger  collections  of 
designs.  He  should  also  be  ready  with  pencil  and  sketch 
book  to  copy  anything  new  which  he  may  see,  and  to  in- 
vent designs  for  himself. 


TUSCAN  ORDER. 

-1  7 

J  Ovolo 


2 

/  Cavetto 


•  5 


^  Torus 

Apophyses 

Astragal 


If)  Bead,  No.  1 


7 

^  Bead,  No.  2 


Cyma  Recta 


~7 


Ogee,  or  Cyma 
Reversa 


10 

Scotia 


11 

(-^  Quirked  Ogee 


12 

n irked  Ovolo 


\J  Quii 


13 


\  Reeds 


14 

Facia 


240 


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TUSCAN  ORDER. 


o 
O 


J 


T  Cavetto 


Cavetto 

Corona 
Ovolo 


55 


Facia 

Facia 

Abacus 
Ovolo 

Astragal 


)  Torus 
-*|  Pliuth 


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DORIC  ORDER. 


Guttse 
Frieze 


Shaft 


242 


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BORDERS. 


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CORNERS. 


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WALL  PANEL  DECORATIONS. 


THE  HOME  MECHANIC.  S4& 

WALL  DECORATIONS. 


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251 


252  THE  HOME  MECHANIC. 


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253 


854 


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A  COMPLETE  SYSTEM 

OF 

COACH  PAINTING. 


This  is  a  branch  of  the  art  of  great  importance,  yet  one 
but  very  imperfectly  known  to  the  masses.  One  reason  for 
this  statement  is  that  coach  painters  generally  keep  a  very 
«lose  surveillance  over  visitors,  few,  if  any,  are  allowed  to 
enter  their  workshops,  and  no  class  of  painters  are  so  un- 
willing to  communicate  any  of  the  principals  or  theories  of 
their  business. 

House  painting,  sign  painting,  etc.,  are  branches  of  the 
art  that  cannot  be  well  concealed  from  the  public  gaze,  for 
the  operations  are  so  common,  and  of  every  day  occurrence, 
that  any  person  of  moderate  ability  can  soon  obtain  suffi- 
cient information  to  enable  them  to  do  a  passable  piece  of 
work,  especially  in  house  painting.  Graining  requires  not 
only  good  judgment,  a  true  sense  of  the  various  woods  and 
marbles  he  wishes  to  imitate;  but  also  the  organ  of  imita- 
tion well  developed.  Sign  painting  being  in  part  mechanical, 
has  been  acquired  with  more  ease  than  many  other  branches 
of  the  art,  yet  there  are  some  points  got  only  by  long  prac- 
tice and  through  the  help  of  others  in  the  same  line. 

But,  as  stated  above,  coach  painting  differs  so  much 
from  any  of  the  above  in  the  method,  mixtures,  etc.,  that 
even  a  good  clear  knowledge  of  any  of  the  others  is  of  no 
use  when  applied  to  coach  painting. 

In  starting  with  giving  the  pupil  a  correct  idea  of  coach 
painting,  it  will  be  necessary  first  to  mention  the  kind  of 
materials,  tools,  etc.,  required. 

In  no  branch  of  painting  should  more  care  and  knowl- 
edge be  employed  than  in  selecting  the  most  suitable  stock 
before  commencing  a  piece  of  work;  for  without  paying 
strict  attention  to  this  fact,  good  work  cannot  be  done.  A 
first-rate  coach  painter  cannot  execute  a  piece  of  work  to 


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255 


advantage  with  poor  materials  ;  the  paints  must  be  of  the 
best  quality,  varnish,  japan,  oil  and  turpentine  dryers,  etc. ; 
let  those  be  good  and  the  chances  are  all  in  your  favor. 

MATERIALS  REQUIRED. 

White  lead,  B.  B.  brand,  ground  in  oil. 
Same  quality,  dry. 
Japan  dryer,  No.  1. 
Black  Japan. 

Body  copal  varnish  (flowing). 

Body  (hard),  for  bringing  up  the  work,  for  rubbing  down 
and  using  in  the  previous  coats,  then  finish  with  the  body 
flowing. 

Carriage  varnish.  Nos.  I  and  2. 

Drop,  or  Frankfort  black. 

Chrome  yellows,  of  all  shades  to  orange. 

Indian  red. 

Vermilion. 

Venetian  red. 

Orange  mineral. 

Red  lead. 

Scarlet  lake. 

Crimson  lake.  )  ^     r      .  ,     ,  .  , 

Purple  lake.    }  Coach  Palnters  rose  Plnk' 

Yellow  lake. 

Carmine 

Purple  Brown. 

Burned  Umber. 

Raw  Umber. 

Burned  and  Raw  Sienna. 

Chrome  greens,  assorted  shades. 

Olive,  or  quaker's  green. 

Ultramarine  blue. 

Prussian  blue. 

Cobalt  blue. 

French  yellow  (ocher). 

Whiting,  best  quality. 

Ground  pumice. 

Pumice  in  lump. 

Rotten  stone,  very  fine. 


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Tripoli  powder. 

Granulated  zinc  (putty  powder). 

Fine  wheat  flower. 

Olive  oil  for  polishing. 

Brushes  of  suitable  sizes,  short  for  painting. 

Oval  bound  varnish  brushes. 

Sash  tools,  assorted  sizes. 

Pencils,  large  and  small  (sable). 

Long  liners  for  striping  (camel  hair  or  sable). 

For  fine  lines,  long  black  sable. 

Sand  paper,  assorted  numbers. 

Emery  paper,  for  rubbing  old  work,  viz. :  iron^,  springs, 
bolts,  shackles,  etc. 
Dusters. 

A  few  tressels  to  stand  bodies  upon  of  a  suitable  hight. 

A  wheel  stand,  which  is  an  upright  mortised  into  a 
square  block  of  wood,  about  two  inches  above  the  half 
diameter  of  the  largest  wheel ;  have  a  pin  of  iron  put 
through  the  upright,  a  little  less  than  the  size  of  the  axle, 
and  long  enough  to  hold  the  wheel  while  painting  or  when 
striping.  And  another,  made  with  a  block  or  stool,  with  an 
upright  bolt  or  pin  from  the  center,  so  as  to  place  a  wheel 
upon  a  horizontal  position. 

A  bench  for  the  flag  and  muller.  A  small  paint  mill 
attached  to  the  bench  for  grinding  colors. 

A  square  putty  knife. 

A  diamond  pointed  putty  knife. 

A  pallet  knife. 

A  hal/Jound  file.  }  for  c,eanin&  old  work- 
Flat  broad  chisel. 

Flat  scraper,  or  old  plane  iron,  used  when  firing  off  o. 
paint. 

Varnish  pots  (tin),  with  a  wire  across  the  mouth  to 
wipe  the  brush  over. 

Paint  cans,  assorted  sizes. 

Oil  cans,  etc.,  marked  for  boiled  and  raw. 

Turpentine  can. 

Japan  can. 

Cloth,  double  milled,  for  rubbing  the  varnish  coats. 
Sponge  and  chamois  skin,  etc. 


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257 


Having  mentioned  almost  all  the  necessaries  required  to 
furnish  a  coach  painter,  I  will  now  proceed  with  the  gen- 
eral instruction  for  preparing  a  carriage  for  painting. 

First,  take  and  dust  all  the  machine  carefully  before  tak- 
ing it  into  the  paint  room.  Have  two  boards  like  small 
table  tops  connected  by  a  bolt  in  the  center,  so  as  to  re. 
volve  when  wanted.  Place  these  upon  the  tressels,  then 
take  the  body  off  the  under  carriage  and  set  it  upon  the  smaft 
tressels  before  mentioned,  then  take  oif  the  wheels  and  let 
the  carriage  rest  upon  the  axle  on  a  tressel  of  a  proper 
hight,  same  as  the  wheels ;  take  the  wheel  stand  and  place 
upon  it  one  of  the  wheels,  then  the  work  will  be  all  easy  of 
access  and  ready  to  commence  painting. 

In  coach  painting  very  little  oil  paint  is  required,  and 
here  is  the  difference  that  occurs  between  house  and  coach 
painting.  Only  two  or  three  coats  of  oil  paint  is  sufficient 
in  bringing  up  the  work.  This  we  call  priming.  Just  give 
as  many  coats  as  will  carry  out  a  slight  gloss,  no  more. 

The  best  oil  for  this  purpose  is  good  drying  oil,  say  two- 
thirds  oil  and  one-third  turpentine,  and  have  a  little  of  the 
fine  litharge  ground  into  it,  about  two  ounces  to  twenty 
pounds  of  paint.  The  litharge  causes  the  paint  to  become 
hard,  and  rub  down  better  than  if  only  drying  oil  alone 
was  used. 

We  mention  litharge  because  it  is  the  best  dryer  for  this 
purpose.  Patent  dryer  is,  no  doubt,  convenient,  being  al- 
ready ground,  but  it  never  dries  paint  so  hard  as  litharge, 
nor  rubs  down  with  the  sand  paper  so  well,  being  more  apt 
to  hang  to  or  clog  the  paper,  and  roll  or  draw  upon  the 
work. 

After  all  is  first  coated  and  dry,  take  your  sandpaper 
and  rub  down  very  smooth,  making  sure  to  cut  down  all 
inequalities,  ridges,  or  deficiencies  in  finish  by  the  coach 
builder,  otherwise  by  neglecting  to  do  so  on  the  first  coat, 
you  would  have  the  mortification  to  find  that  those  places 
would  cut  through  in  your  second  coat,  thus  losing  your 
time  to  a  considerable  amount. 

You  now  dust  your  work  carefully,  and  mix  up  some 
putty  (better  make  your  own)  with  whiting  and  oil  (raw 
oil )  and  about  one-fourth  part  white  lead,  and  work  into  it 
while  kneading  it,  a  little  pulverized  litharge  to  make  it 


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dry  good  and  hard.  This  is  very  important,  as  the  putty 
should  be  dry,  otherwise  it  would  rub  up  in  the  pro- 
cess of  the  work,  and  spoil  the  entire  job.  Observe  that 
the  putty  must  be  stiff,  and  well  worked  up,  before  using 
it.  You  now  take  your  putty -knife  and  fill  up  every  crack, 
crevice,  knot  hole,  etc.,  etc;  level  every  inequality  smooths 
and  fine  ;  study  rather  to  have  your  filling -up  rather  high- 
er than  otherwise,  for  you  will  put  that  all  right  when  rub- 
bing down  the  next  coat,  but  if  below  the  level,  you  have 
to  commence  puttying  again.  That  is  bad  work,  so  be 
sure  to  putty  carefully.  All  this  done,  then  dust  off  the 
work  again,  previous  to  second  coating.  Should  your  col- 
or be  too  stout  or  thick,  thin  with  turpentine,  but  be  sure 
not  to  use  thin  color,  for  it  not  only  covers  badly,  but  rubs 
down  very  tacky. 

For  all  dark  colors,  use  a  dark  lead  color  for  your  oil 
coats — "  merely  black  and  white,"  but,  for  preparing  for 
any  such  color  as  light  green,  let  the  color  be  light  lead 
color. 

If  for  a  yellow,  begin  with  white,  or  slightly  tinted  with 
a  little  chrome  yellow. 

In  laying  your  second  coat,  be  sure  to  lay  it  regular,  not 
fat  in  some  places  and  spare  in  others,  but  as  far  as  pos- 
sible an  equal  fair  coat,  and  we  would  wish  to  guard  you 
against  one  of  the  very  worst  faults  a  painter  can  commit, 
viz. :  to  leave  full  or  fat  edges  upon  any  part  of  the  work, 
such  as  the  springs,  shackles,  bolt-heads,  or  nuts,  or  any 
part  of  the  carriage,  for  if  left  by  neglect,  they  will  tell 
upon  you  at  some  stage  of  the  work,  and  at  a  time,  pos- 
sibly, when  you  cannot  well  repa?r  tie  evil  done  ;  therefore 
be  careful.  ~  ' 

When  this  second  coat  is  dry  examine  minutely,  that 
you  have  missed  none  of  the  places  requiring  putty. 

The  second  coat  being  thoroughly  dry,  proceed  to  rub 
down  with  your  sand-paper,  using  a  finer  quality  this  time, 
so  as  not  to  cut  so  deep,  hoping  that  all  projections  have 
been  cut  down  upon  the  previous  coats.  Now  dust  off 
your  work,  and  commence  to  give  the  third  coat,  putting 
on  a  very  tight  coat  (that  is,  rubbing  it  out  well,  not  too 
much  paint). 

After  the  work  is  all  dry  and  hard,  you  next  proceed  to 


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259 


giving  the  filling  up  coats.  Filling  is  a  mixture  prepared 
as  follows  :  Take  dry  French  yellow,  litharge,  a  little  white 
lead,  whiting — say  about  one-sixteenth  litharge — a  small 
quantity  of  white  lead,  a  small  amount  of  whiting;  a  little 
red  lead  will  also  improve  it;  take  your  drying  Japan  and 
pour  in  as  much  as  will  nearly  mix  it ;  put  in  a  very  little 
drying  oil,  very  careful  not  to  have  too  much,  otherwise  the 
filling  will  be  soft  and  tough  ;  turpentine  to  thin  to  a 
suitable  thickness,  to  make  it  spread  like  a  stiff  coat  of 
paint.  This  filling  must  be  laid  full,  a  coat  to  flow  on 
freely.  A  little  practice  is  necessary  to  find  out  the 
exact  quantities  of  thinners  to  be  used  in  mixing  good 
u  filling  up  stuff."  After  all  is  right,  commence  to  coat 
your  body,  laying  it  fullest  where,  you  see  any  hollow  or 
want  that  you  cannot  putty  very  well,  as  this  is  really  its 
use.  Then,  if  a  good  job,  coat  your  shafts,  springs, 
wheels,  etc.,  etc.,  etc.,  and  when  all  is  done  over,  let  it 
stand  until  all  is  perfectly  hard  (try  with  your  thumb  nail) ; 
if  it  feels  hard  and  don't  peel  up,  it  will  stand  another 
coat. 

In  the  most  of  cases,  two  coats  of  filling  will  be  suffi- 
cient. The  last  coat  must  be  allowed  to  dry  hard,  as  it 
has  to  be  all  rubbed  down  with  lump  pumice  stone.  Rub 
the  pumice  flat  upon  a  stone  before  you  commence  rubbing 
down  carriage  work. 

When  the  student  begins  to  rub  he  is  to  be  very  cau- 
tious to  avoid  cutting  through,  and  here  he  will  find  a 
"  proof"  whether  or  not  he  has  paid  attention  to  rubbing 
down  carefully  with  his  sand-paper,  for  if  he  has  not,  of 
course  his  pumice  will  cut  in  all  places  neglected,  as  stated 
above. 

In  rubbing  down  with  lump  pumice,  you  must  use  plenty 
water ;  keep  your  sponge  in  your  left  hand,  and  supply 
water  whenever  required ;  it  will  cut  quicker,  and  not  be 
liable  to  roll  up,  as  it  would  undoubtedly  do  if  not  kept 
perfectly  wet.  Draw  your  finger  or  side  of  the  hand  over 
the  parts  you  are  rubbing  and  you  will  see  when  you  have 
it  done  enough,  that  is,  all  perfectly  firm  and  smooth.  Then 
you  have  done  all  that  is  required.  Take  your  sponge  and 
wash  off  all  the  work ;  wring  out  your  wash  leather  (cham- 
ois) and  dry  off  the  job ;  then  if  all  is  perfect,  all  filled, 


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the  work  will  feel  like  a  piece  of  ivory,  quite  smooth  and 
level. 

A  panel  or  piece  of  coach  work  cannot  be  got  level  or 
fit  for  finishing  without  being  filled  up  by  this  method,  for 
the  grain  of  the  wood  will  always  be  more  or  less  seen  un- 
less done  so. 

We  now  come  to  the  next  stage  of  operations,  viz.  $ 
color.  « 

Whatever  color  the  carriage  is  to  be  painted,  the  color 
must  be  fresh  ground,  as  it  is  a  mixture  that  drys  very 
quick. 

If  you  want  a  dark  green  of  the  olive  shades,  you  take 
deep  chrome  yellow  and  drop  black ;  have  your  black 
powdered  ;  mix  the  two  together  in  a  pot  with  the  drying- 
japan,  and  a  little  turpentine — not  too  much  spirits  at  first, 
as  it  would  not  grind  well  if  thin  ;  put  your  mixture  into 
the  bench  mill  and  grind  it  into  a  clean  pot  (always  wash- 
ing out  the  mill,  to  keep  it  clean),  then  see  if  the  shade  is 
of  the  kind  desired  ;  if  too  dark,  you  want  more  yellow, 
or  vice  versa;  if  the  color  is  wanted  warm  olive  or  quak- 
er's  green,  put  in  a  little  India  or  Venetian  red. 

Now  take  a  clean  brush,  and  make  up  the  color  to  the 
proper  thickness  and  commence  work  at  once ;  as  the  color 
drys  or  sets  very  quick,  be  expeditious  in  laying  it  on. 
The  same  care  is  not  now  so  necessary  as  regards  fat  edges, 
as  the  color  will  all  dry  hard.  Still;  avoid  all  careless  or 
slovenly  work  j  always  work  clean,  if  you  want  the  work 
to  look  well.  A  small  drop  of  drying  oil  can  be  used  in 
very  warm  weather,  if  it  should  set  too  fast  to  allow  time 
to  lay  the  color,  yet  an  expert  never  uses  any  oil,  and  it  is 
better  not  to  use  any,  unless  you  wish  to  let  the  work 
stand  for  a  longer  period  of  time  than  usual.  By  working 
the  color  free  of  oil,  two  coats  per  day  can  be  given  easily. 
Two  coats  of  this  color  will  be  sufficient.  I  have  often 
done  a  good  piece  of  work  with  one  flowing  coat. 

All  plain  colors  are  done  in  the  same  manner  5  all  opaque 
colors  that  cover  well  require  no  more. 

Greens,  browns,  olives,  yellows,  etc.,  etc.,  but  for  an  ul- 
tramarine blue,  the  work  has  to  be  got  up  very  differently. 

You  must  ground  up  after  your  filling  has  been  rubbed 
down,  washed,  dried,  etc,  with  a  coat  in  "  oil/'  that  is  not 


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261 


in  "japan,"  using  just,  so  much  oil  with  the  color  to  keep 
it  from  setting  too  quick  ;  for  such  colors  use  sugar  of  lead 
for  the  dryer,  in  preference  to  japan  dryers,  as  the  color 
will  be  purer.  Grind  some  good  Prussian  blue  in  oil,  then 
add  to  a  mixture  of  white  lead  as  much  blue  as  will  make 
a  ground  dark  enough  for  to  bear  the  ultramarine  blue, 
that  is  about  as  dark  as  you  wish  the  carriage  to  be  when 
finished.  You  now  proceed  to  give  a  nice  cai-eful  coat  over 
all  \h?  work  that  is  to  be  finished  blue.  When  dry,  if 
solid  enough,  it  will  require  no  more  Prussian  blue,  but 
generally  two  coats  are  required. 

When  satisfied  that  your  ground  is  good,  take  some  of 
the  best  ultramarine  blue,  grind  it  on  the  stone  with  a  little 
varnish,  pour  out  some  of  your  body  flowing  varnish  into  a 
clean  pot,  put  in  your  ultramarine  already  ground,  and  with 
a  clean  brush  mix  well  the  blue  with  your  varnish  ;  try  if 
there  is  blue  enough  in  it,  and,  if  all  right,  commence 
to  give  a  very  regular  flowing  coat  all  over,  and  the 
colored  varnish  coat  will  flow  on  very  evenly  and  give  a 
tone  and  transparency,  a  depth  of  color  which  cannot  be 
got  by  using  full  ultramarine  alone.  We  always  recom- 
mend two  coats  for  a  coach  wanted  in  this  peculiar  color, 
second  coat  the  same  as  the  first,  only  before  giving  the 
second  coat  rub  down  all  the  work  with  ground  pumice  and 
water,  with  a  cloth.  You  thus  remove-  the  gloss,  and  the 
next  coat  will  lay  and  flow  better.  Let  the  work  stand  for 
a  few  days,  then  rub  down  again  with  ground  pumice  and 
water,  wash,  and  dry  with  your  skin,  after  which  the  work 
is  all  ready  for  picking  out  and  striping,  of  which  I  will 
lay  down  general  rules  hereafter. 

1  CLARET  OR  LAKE  COLORS. 

Your  first  coat  is  composed  of  vermilion  and  rose  pink, 
in  oil,  as  for  blue.  Filling  all  rubbed  down,  washed,  dried, 
etc.,  dust  clean,  then  proceed  to  give  a  coat ;  this  you  will 
find  to  cover  very  well.  When  dry,  give  another  light 
coat  j  as  soon  as  hard,  rub  with  ground  pumice  and  water, 
same  process  as  for  blue.    Dust  clean  and  nice. 

If  you  wish  a  very  rich  light  claret,  you  must  calculate 
not  to  have  too  much  rose  pink  in  your  ground  color,  for 


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if  you  do,  you  will  not  get  the  color  you  anticipate.  But 
for  dark  clarets,  use  considerable  rose  pink.  The  student 
must  pay  attention  to  these  important  hints. 

For  the  light  shade,  have  some  scarlet  lake  ;  grind  in  a 
similar  way  as  directed  for  ultramarine  ;  take  the  body- 
flowing  varnish  and  put  in  the  lake;  mix  well,  and  pro- 
ceed to  coat  very  carefully.  This  color  sometimes  takes 
three  coats,  but  with  due  care,  and  a  good  brush  hand,  it 
can  be  attained  with  two  coats. 

DARKER  SHADES. 

Use  more  rose  pink  in  the  ground.  Then,  instead  of 
scarlet  lake,  use  the  best  crimson  lake,  and  in  the  same 
manner  as  for  the  light  claret ;  two  coats  will  be  enough 
if  carefully  laid.  In  all  those  colors  got,  the  principal 
idea  is  to  have  a  solid,  true  body,  not  shady  but  fair. 

STILL  A  DARKER  SHADE. 

Vermilion,  rose  pink,  a  little  ultramarine  blue,  for  the 
ground.  This  is  for  a  purple  shade  of  claret.  Ground 
good  and  solid. 

Then  grind  some  purple  lake,  same  as  above )  put  into 
your  "  body-flowing  varnish  f  two  coats  will  be  enough, 
if  managed  well.  Should  any  imperfections  appear,  give 
another  coat  and  all  will  be  sure. 

TO  PAINT  A  CARRIAGE  PURE  CARMINE. 

This  is  sometimes  required  for  fancy  machines,  or  fire- 
engines,  hose  carriages,  etc.  Many  painters  fail  in  paint- 
ing with  this  very  valuable  color,  and  also  through  ignor- 
ance of  how  to  use  it.  They  very  generally  attempt  to 
get  the  color  by  the  use  of  the  carmine  alone.  This  color, 
if  pure,  is  worth  $3  per  ounce. 

Ground  your  work  with  the  best  English  vermilion  ;  see 
that  the  color  is  complete  and  solid. 

Then  take  pure  carmine,  grind  in  a  little  drying  oil,  put 
it  into  the  body-flowing  varnish,  and  coat  very  carefully. 
It  will  take  two  coats  to  produce  a  solid,  pure  color. 


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263 


By  this  method,  one  ounce  bottle  will  do  a  whole  ma- 
chine, thereby  saving  a  large  amount  of  cash  for  carmine, 
and  time,  which  is  capital,  and  at  the  same  time  produce  a 
very  superior  color  to  anything  that  can  be  realized  from 
pure  carmine. 

All  the  above  colors  are  produced  by  what  is  called  in 
the  trade,  glaizing. 

A  green  can  be  done  in  the  same  way  $  laying  a  light 
green  for  a  ground,  then  use  the  green  lake  to  glaize,  as  in 
the  clarets,  carmines,  ultramarines,  etc. 

"JAPAN  BROWN." 

Grind  drop  black  in  japan ;  add  to  it  a  little  vermilion, 
just  enough  to  see  it.  This  makes  a  very  rich  color,  and 
looks  very  well  with  vermilion  lines,  or  an  orange  line  ; 
either  looks  well. 

OXFORD  BROWNS. 

Take  a  little  chrome  yellow,  white  lead,  India  red,  best 
ocher,  burned  umber,  just  white  enough  to  be  seen  ;  yellow 
is  the  principal  color ;  red  to  warm  it,  umber  to  give  it  the 
brown  tone. 

Many  varieties  of  Oxford  brown  can  be  made  by  the 
adding  more  or  less  of  the  leading  colors  of  the  compos- 
itions. 

CHROME  GREENS  OF  ALL  SHADES, 

Or  greens  composed  of  chrome  yellow  and  Prussian 
blue.  Let  all  the  greens  be  ground  in  japan.  Being 
opaque,  they  all  work  in  that  way  remarkably  well,  and 
by  far  superior  to  any  attempt  in  oil. 

FAWN  COLROS. 

Yellow,  red,  a  little  black,  or  a  little  burned  umber  may 
be  added,  even  burned  terra  de  sienna  is  sometimes  put  in 
the  mixture.  Coach  colors  vary  from  the  shades  in  gen- 
eral use  by  house  and  sign  painters.  They  are  strictly  a 
class  of  colors  peculiar  to  t'?at  branch  of  the  art,  and  are 


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tied  to  no  common  established  rule.  I  have  seen  a  carriage 
painted  with  the  cleaning  of  several  pots,  forming  a  color 
that  would  puzzle  almost  the  best  colorist  to  imitate,  yet 
it  looked  first  rate,  although  a  nondescript!  We  advise 
the  adoption  of  the  principle,  as  it  not  only  produces  var- 
ieties of  color  but  will  be  a  point  of  economy  of  great  im- 
portance, as  much  valuable  color  is  often  thrown  away 
through  this  want  of  judgment,  into  the  common  receptacle 
for  all  left  colors  called  the  "  smudge  barrel." 

DRABS. 

Any  variety  can  be  made  to  suit  the  most  fastidious. 

Composition  drabs,  red  black,  and  yellow,  umber  ;  also 
some  mineral  colors,  from  which  many  fine  tints  can  be 
made.  Raw  umber  and  white  alone  constitute  a  good  cool 
drab,  and  can  be  toned  either  with  a  little  41  chrome,"  or 
"  red/'  so  as  to  be  either  rich,  or  warm.  Any  fancy  shade 
of  color  wanted  can  be  mixed  with  perfect  ease,  for  very 
soon  the  student  will  acquire  sufficient  knowledge  of  color 
to  mix  any  shade  he  desires. 

A  GOOD,  DURABLE,  CEHAP  COLOR. 

Vermilion  and  Prussian  blue.  This  is  an  easy  way  of 
getting  at  a  cheap,  rich  purple,  with  a  small  quantity  of 
white  lead. 

ANOTHER. 

Vermilion  and  drop  black  makes  a  cheap  plum  brown, 
or  claret ;  covers  well,  and  looks  and  stands  well,  although 
far  deficient  to  the  claret  got  up  by  glaizing  with  crimson 
lake,  already  mentioned ;  but  for  low  priced  work  looks 
very  well  indeed,  and  will  not  cost  one-half  the  price ;  as 
much  time  is  saved,  and  the  materials  moderate. 

Having  given  a  general  outline  of  colors,  we  propose  to 
next  point  out  to  the  student  the  manner  of  "  breaking 
out,"  or  il  picking  out,"  as  the  trade  term  has  it. 

That  is,  laying  in  the  lines  or  stripes,  "  blue  ground." 
If  a  large  carriage,  with  heavy  wheels,  draw  lines  (with 


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265 


japan  mixed  color)  with  ground  Frankfort  black,  from 
three-quarter  inch  to  one  inch  broad,  on  every  part  of  the 
carriage,  spokes  and  springs,  filloes,  hub,  etc.,  etc.,  etc., 
shafts,  etc.  Then,  with  a  light  primrose,  or  light  orange 
color,  draw  fine  lines  about  three-eighths  or  a  quarter  of 
an  inch  from  the  broad  black  line,  showing  that  separating 
distance  clear  and  distinct  of  the  blue  between. 

And  great  care  is  required  in  drawing  the  fine  lines,  so  as 
to  have  them  true  and  equi-distant.  Wherever  the  broad 
black  line  is  drawn,  carry  your  two  fine  lines  all  through  the 
work,  bolt  heads  and  nuts  black  with  one  fine  line  round 
the  edge. 

For  an  extra  finish  a  fine  line  can  be  drawn  down  the 
center  of  the  black,  a  deep  orange,  or  pure  white,  or  gold. 
This  style  looks  very  beautiful. 

In  drawing  fine  lines,  as  a  general  rule,  the  color  is 
ground  in  drying  oil,  as  it  combines  more  closely,  and  gives 
out  from  the  pencil  much  better,  and  makes  the  lines  more 
regular,  although  for  work  in  a  hurry,  where  the  lines  are 
not  required  to  be  so  fine,  japan  color  will  do. 

GBEENS. 

Generally  pick  out  with  black,  and  if  a  light  green, 
black  lines  will  be  enough.  If  a  little  more  expense  is  to 
be  gone  to,  run  up  the  center  of  the  black  lines  with  a 
white,  and  not  too  fine.    This  makes  a  good  neat  finish. 

If  a  dark  green,  pick  out  with  black,  and  run  very  fine 
line  on  each  edge  of  the  black,  three-eighths  of  an  inch  off 
the  black.  With  a  very  bright  green,  that  looks  very  nice 
indeed,  or  any  other  color  to  suit  the  taste  of  the  artist. 

CLARETS. 

Almost  all  colors  of  this  class  are  picked  out  with  black. 
Fine  side  lines  are  either  vermilion  or  a  rich  orange;  or 
side  lines  of  orange,  not  too  dark,  and  a  vermilion  line  run 
up  the  center  of  the  black  ;  or  one  large  black  line,  with  a 
gold  line  up  the  center,  about  one-sixteenth  of  an  inch 
strong. 


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FAWN  COLORS. 

Pick  out  with  black,  fine  line  with  white  on  each  edge, 
or  brown  drab  shade — any  color  that  will  show  well  and 
be  in  harmony. 

OXFORD  BROWN. 

Pick  out  with  black,  fine  line  vermilion  or  medium  tint 
of  chrome  yellow  with  a  perceptible  touch  of  red  in  it. 
Sometimes  part  the  black  line  with  white  down  the  center. 

JAPAN  OR  PLUM  BROWN. 

Vermilion  line  looks  best  of  any  color,  and  for  cheap 
work  requires  nothing  more. 

BLACK  BOLTS  AND  NUTS. 

Some  dark  colors  (very  dark)  look  well  to  pick  out  with 
drab,  or  fawn  color,  edge  lines  vermilion,  center  line  black. 
This  looks  very  clean  and  showy. 

OLIVE,  OR  QUAKER'S  GREENS. 

Pick  out  generally  with  black,  fine  line  with  white 
orange,  or  light  green. 

DRABS  OF  ALL  SHADES. 

Pick  out  with  black,  fine  line  with  vermilion,  or  orange 
high  colored.    Extra  finish,  center  line  white. 

PURPLE. 

Pick  out  with  black,  fine  line  with  a  bright  line  of  orange 
or  lilac,  or  with  vermilion. 

These  remarks  apply  to  most  of  the  colors  in  use  by 
coach  painters,  although  there  can  still  be  a  greater  var- 
iety of  work  done  than  we  o^n  enumerate,  which  can  be 
put  in  practice  at  any  time. 

The  next  operation  is  to  varnish.    Now,  it  appears  a 


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267 


simple  process,  but  it  requires  not  only  great  practice  but 
considerable  " knack."  One  thing  must  be  understood  and 
put  in  practice,  viz. :  never  use  a  dirty  brush  or  pot ;  keep 
your  brush  in  a  narrow  tin  case  or  canister  in  raw  oil ;  cut 
a  hole  in  the  top  large  enough  to  admit  the  handle  of  the 
brush,  and  bore  a  small  hole  through  the  handle  to  admit 
a  piece  of  wire  to  hold  it  up  from  the  bottom,  for  if  the 
point  of  the  brush  touch  or  rest  on  the  bottom,  the  ^bristles 
will  be  turned,  consequently  will  not  lay  the  varnish  close 
and  smooth.  Wash  the  brush  out  clean  with  turpentine 
before  using. 

Then  pour  into  your  pot  (if  for  the  under  carriage)  some 
carriage  varnish,  and  work  in  your  brush  thoroughly  ;  then 
start  either  upon  your  wheels  or  carriage  first,  it  is  of  no 
importance  which  ;  lay  a  full  coat,  never  pinch  it,  for  a 
half  coat  of  varnish  is  always  poor  and  hasky,  and  never 
yields  a  good  gloss.  When  all  your  carriage  work  is  done 
pour  back  the  varnish  into  your  can,  then  take  some  body 
varnish  and  give  your  first  coat  to  it  also  ;  then  let  all 
stand  until  it  is  quite  hard  and  dry. 

Then  take  your  ground  pumice  and  water  and  cloth  rub- 
ber (woolen  cloth)  and  wet  it  well  ;  then  have  some  pum- 
ice on  a  board  or  plate  convenient,  dip  the  clo^h  in  the  pum- 
ice and  commence  to  rub  every  part  of  the  varnish,  taking 
great  care  not  to  run  through  any  of  the  ground,  or  lines, 
but  merely  to  remove  the  gloss.  This  we  call  flatting  the 
work.  Then  wash  of  all  the  pumice  thoroughly,  and  dry 
with  the  wash  leather,  which  must  always  be  used  wet ; 
just  wring  it  out  of  the  water  as  dry  as  you  can,  and  it  will 
d  y  best ;  never  use  it  dry.  You  now  examine  the  work 
carefully,  and  see  if  you  have  cut  through  anywhere;  if 
you  have,*you  must  touch  it  up  with  japan  color,  so  as  to 
dry  soon,  then  you  can  begin  your  second  or  last  coat. 

A  very  good  job  can  be  done  with  two  coats.  Give  a 
very  full  coat,  almost  to  running,  and  lay  it  off  very  clean. 
When  you  do  the  wheels,  a  full  coat,  take  and  spin  them 
upon  the  standard  for  some  time,  indeed  until  nearly  set. 
This  plan  is  not  generally  practised,  but  it  gives  a  very 
superior  gloss,  and  secures  the  danger  of  the  varnish  run- 
ning, a  very  important  point,  and  one  not  easily  got  quit 
of;  and  about  the  worst  eyesore  that  can  occur. 


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THE  HOME  MECHANIC. 


If  this  second  coat  do  not  please  you,  flatten  the  coat 
again  with  3rour  pumice,  cloth,  and  water;  wash  and  dry 
as  before,  and  then  give  a  reasonable  coat  carefully. 

In  good  jobs,  where  it  is  required  to  be  polished,  you 
must  commence  with  fine  ground  pumice;  do  not  depend 
upon  the  fineness  of  the  pumice  as  sold,  but.  for  this  pur- 
pose, take  and  mix  with  water,  then  grind  it  upon  the  flag 
very  fine,  then  there  will  be  no  danger  of  scratching. 

Rub  just  enough  to  bring  all  to  a  perfect  smooth  state, 
all  brush  marks  removed,  then  wash  very  clean  and  dry 
well;  then  dust  carefully.  But  always  before  washing, 
drying,  etc.,  sweep  out  your  floor,  and  sprinkle  with  water 
to  lay  the  dust.  The  same  precaution  is  necessary  always 
before  varnishing,  for  dust  getting  into  the  varnish  will 
cause  the  work  to  look  "seedy/'  or  lousey,  as  the  painters 
call  it. 

Your  next  operation  in  polishing  is  to  take  rotten  stone, 
finely  sifted  through  muslin,  and  mix  in  olive  oil;  take  a 
piece  of  fine  cloth  for  a  rubber,  and  rub  every  piece  very 
carefully,  which  will  again  restore  the  gloss  by  reducing  it 
to  fineness  again ;  rub  off  the  rotten  stone  occasionally 
with  the  side  of  your  hand  or  finger,  and  you  will  see  if  all 
is  polished  enough. 

Then,  if  all  right,  take  and  wipe  off  with  a  piece  of  soft 
old  cotton  cloth,  free  of  dust,  then  take  some  fine  wheat 
flour,  and  a  piece  of  fine  flax  full  of  the  flour,  rub  all  the 
work  over  so  as  to  take  up  all  the  oil  and  rotten  stone  that 
is  upon  the  work,  then  with  an  old  silk  handkerchief  wipe 
all  the  work  up  pretty  smartly,  and  if  all  has  been  done 
right  and  with  care,  the  work  will  have  a  very  fine,  bril- 
liant gloss.  #  j 

Some  finish  with  putty  powder,  and  others  use  Tripoli 1 
instead  of  pumice.  But  the  above  process  answers  every 
purpose  that  is  required.  But  when  the  work  is  intended 
to  have  a  polish  and  burnish  finish,  always  give  an  extra 
coat  of  varnish,  as  it  is  not  good  policy  to  attempt  polish- 
ing on  two  coats  of  varnish,  for  such  work  is  generally 
left  from  the  brush  if  clearly  /arnished. 


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26S 


PACING  PUTTY  FOR  SMALL  FLAWS. 

Mix  whiting,  a  little  white  lead,  litharge  a  small  quan* 
tity,  with  japan  dryers,  and  add  a  little  drying  oil — very 
little;  work  this  very  well,  not  too  hard,  and  use  it 
quickly  as  it  sets  very  soon.  This  putty  will  rub  down 
very  soon,  and  not  tear  up  with  the  pumice  stone  or 
sand  paper. 

FIRING  OFF. 

Firing  off  is  a  term  used  by  painters.  Some  use  a 
gas  burner  attached  to  a  rubber  hose  pipe,  so  as  to  di- 
rect it  to  any  portion  of  the  work  required  to  be  cleaned 
off.  The  heat  causes  the  paint  to  soften,  so  that  it  can 
be  easily  removed  by  the  blunt  chisel,  or  plain  iron ; 
then  can  be  reduced  to  evenness  by  rubbing  down  with 
lump  pumice  and  water.  Another  method  is  to  take  a  brush 
with  turpentine,  lay  on  a  coat  upon  one  part,  then,  with 
a  match  or  candle,  set  fire  to  it.  When  the  old  paint 
becomes  soft  enough,  blow  out  the  flame,  and  remove  with 
the  chisel,  etc.  Another  way  is  to  hold  smoothing  irons 
to  the  part,  and,  if  very  hot,  the  paint  will  soon  soften 
so  as  to  be  easily  removed. 


In  conclusion,  I  would  state  that  by  attending  to  the  in- 
structions here  given,  and  by  a  little  practice,  any  man  of 
moderate  ability,  a  steady  hand,  etc.,  will  very  soon  have 
the  satisfaction  of  turning  out  a  good  piece  of  coach- 
painting.  Striping,  if  well  done,  tends  much  to  the  beauty 
of  the  work,  so  the  student  will  have  to  practice 
this  department  with  care.  Hold  the  pencil  between 
the  finger  and  thumb  and  gauge  with  the  fingers,  keep- 
ing the  thumb  uppermost,  and  drawing  the  hand  back- 
ward ;  by  this  means  he  will  draw  the  lines  straight  and 
quick — one  pencil  full  will  run  a  whole  spoke,  from  the 
hub  to  the  feloe,  all  but  a  small  piece,  which  he  must 
join,  by  drawing  from  the  feloe  to  the  line. 


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CAR  PAINTING. 

By  R.  MoKEON. 

The  Priming  Coat. — The  priming  coat  of  paint  on  a 
car  is  of  as  much  importance  as  any  succeeding  one,  and 
perhaps  more,  1  have  seen  good  work  ruined  in  the  prim- 
ing by  little  or  no  attention  being  given  by  the  painter  to 
the  mixing  and  applying  of  the  first  coat.  The  foundation 
is  the  support,  and  on  that  rests  your  success  or  failure. 
The  priming  should  be  of  the  proper  materials,  and  not 
picked  up  from  old  paints  which  have  been  standing  mixed, 
and  must  necessarily  be  fat  and  gummy,  for  sudh  is  unfit 
for  use  on  a  good  job,  and  will  have  a  decided  tendency  to 
spoil  the  whole  work. 

Special  care  should  be  exercised  as  to  the  priming,  and  it 
should  be  put  on  very  light,  so  that  it  may  penetrate  well 
into  the  wood. 

If  lead  be  used,  two  coats  should  be  given  to  the  car  before 
it  is  puttied,  as  it  is  best  to  fill  well  with  paint  the  nail-holes 
and  plugs,  as  well  as  defects  in  the  wood,  so  that  moisture 
may  not  secure  a  lodgment,  which  otherwise  will  cause  put- 
ty to  swell,  although  sometimes  unseasoned  lumber  wiL 
swell  the  putty,  and  as  it  shrinks,  the  nail  remains  station- 
ary, and  of  course  the  putty  must  give  way. 

Puttying  and  Leveling  the  Surface. — In  mixing 
putty,  which  may  be  a  small  matter  with  some,  take  care  to 
so  prepare  it  that  it  will  dry  perfectly  hard  in  eighteen 
hours.  Use  ground  lead  and  japan,  stiffening  up  with  dry 
lead,  and  whatever  coloring  you  may  require  in  it  to  match 
your  priming  coats.  The  next  coats,  after  the  work  is  well 
puttied,  should  be  made  to  dry  flat  and  hard.  Two  coats 
should  be  applied,  and  for  all  ordinary  jobs  or  cheap  work, 
sand-papering  is  all  that  is  necessary  for  each  coat ;  but 
when  a  good  surface  is  required,  I  would  recommend  one 
coat  to  be  put  on  heavy  enough  to  fill  the  grain,  and  before 
being  set,  scrape  with  a  steel  scraper.  The  plain  surface 
is  all  that  requires  coating  and  scraping  with  the  heavy 
mixture  ;  for  this  coat,  which  we  call  "filling,"  I  use  one- 
half  ground  lead  and  any  good  mineral  which  experience 
had  shown  can  be  relied  upon.    This  scraping  of  the  pane? 


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271 


work  will  fill  the  wood  equal  to  two  coats  of  rough  stuff, 
and  saves  a  great  amount  of  labor  over  the  old  process, 
when  so  much  rubbing  with  lump  pumice-stone  was  done. 
Sand-paper  when  the  filling  is  thoroughly  hard,  and  apply 
anothe:  coat  of  paint  of  ordinary  thickness,  when,  after 
another  light  sandpapering,  you  have  a  good  surface  for 
your  color. 

Rough  coating  on  cars  has  gone  almost  out  of  use,  and  I 
believe  that  but  few  shops  are  now  using  it  to  any  extent. 
My  experience  is  that  paint  has  less  tendency  to  crack 
where  rough  stuff  is  left  off.  I  do  not  claim  that  the  "fill- 
ing "  was  the  principal  cause  of  the  cracking,  il  it  was 
properly  mixed,  but  I  believe  the  water  used  in  rubbing 
(iown  a  car  with  the  lump  pumice-stone  injures  the  paint, 
as  it  will  penetrate  in  some  places,  more  particularly  around 
the  moldings  and  plugs. 

Coloring. — The  car  being  ready  for  the  finishing  color, 
this  should  be  mixed  with  the  same  proportions  of  dryer  as 
the  previous  coat,  or  just  sufficient  to  have  it  dry  in  about 
the  same  time.  A  very  great  error  with  many  car-painters 
is  using  a  large  portion  of  oil  in  the  under  coats,  and  then 
but  little,  if  any,  in  the  finishing  coats  ;  this  has  a  decided 
tendency  to  crack,  the  under  coats  being  more  elastic.  I 
always  aim  to  have  color  dry  in  about  the  same  time  after 
I  have  done  my  priming;  by  this  plan,  I  secure  what  all 
painters  should  labor  to  accomplish — very  little  liability  to 
crack.  Work  will,  of  course,  crack  sometimes,  after  being 
out  a  few  months,  or  when  it  has  repeated  coatings  of  var- 
nish; aud  using  a  quick  rubbing  varnish  on  work  will 
cause  it  to  give  way  in  fine  checks  quicker  than  anything 
<3lse.  Many  of  the  varnishes  we  use  are  the  cause  of  the 
paint  cracking,  and  no  painter  has  been  wholly  exempt 
from  this  trouble. 

Japan  Dryers. — The  most  common  cause  for  paint 
cracking  is  poor  japan,  which  is  the  worst  enemy  that  the 
car-painter  has  to  contend  with;  the  greater  part  of  the 
japan  that  we  get  is  too  elastic,  and  will  dry  with  a  tack, 
and  some  of  the  "japan  gold-size"  we  have  has  the  same 
fault.  A  little  more  care  in  the  manufacture  of  japans 
would  give  us  a  better  dryer,  and  few  would  object  to  the 
additional  cost    Japan  that  I  have  frequently  hid  1  found 


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to  curdle  in  the  paint;  it  would  not  mix  with  it,  but  would 
gather  in  .small  gummy  particles  on  the  top.  Work  painted 
with  such  material  cannot  do  otherwise  than  crack  and 
scale,  and  the  remedy  lies  only  in  getting  a  good  pure  ar 
tide  of  turpentine  japan. 

Write  Lead. — In  regard  to  using  ground  lead,  car- 
painters  differ,  as  some  prefer  to  grind  their  own  in  the 
shop.  I  use  the  manufactured  lead,  and  my  reasons  for 
doing  so  are  that  it  is  generally  finer  than  any  shop  can 
grind  it  with  present  facilities,  and  it  has  age  after  grind- 
ing which  improves  its  quality.  You  can  also  get  a  purer 
lead  and  with  more  body  than  you  can  by  grinding  in  the 
shop,  which  is  a  fact  that  most  painters  must  admit ;  I  have 
tested  it  very  fully,  and  am  convinced  on  this  point. 

Permit  me  to  make  a  few  suggestions  here  in  regard  to 
the  mixing  of  paint,  which  may  not  fully  agree  with  others' 
views.  There  is  just  as  much  paint  that  cracks  by  putting 
it  on  too  flat  as  by  using  too  much  oil.  I  have  seen  some 
painters  mix  their  finishing  color  so  that  it  was  impossible 
to  get  over  a  panel  of  ordinary  size  before  it  was  set  under 
the  brush,  and  consequently  the  color  would  rough  up. 
Color  should  be  mixed  so  that  it  will  not  flat  down  for 
seme  time  after  leaving  it,  and  then  you  have  got  some 
substance  that  will  not  absorb  the  varnish  as  fast  as  it  is 
applied  to  the  surface.  This  quick  drying  of  color  is  not 
always  caused  by  want  of  oil  in  it,  but  because  there  is 
too  much  japan,  and  a  less  quantity  of  the  latter  will  do 
better  work  and  make  a  smoother  finish.  Give  your  color 
forty*  eight  hours  to  dry  between  coats  ;  I  always  give  that 
time  unless  it  is  a  hurried  job  and  we  have  very  few  such 
jobs  in  the  shop,  as  experience  has  fully  demonstrated  that 
it  is  poor  economy  to  hurry  work  out  of  the  shop  before 
it  is  properly  finished. 

Oils. — In  car-painting,  both  raw  and  boiled  oils  are  used, 
and  good  work  may  be  done  with  either,  but  I  would  rec- 
ommend oil  that  is  but  slightly  boiled  in  preference  to 
either  the  raw  or  the  boiled.  After  it  is  boiled,  if  it  is  done 
in  the  shop,  let  it  stand  twenty-four  hours  to  settle,  then 
Btrain  off  carefully;  this  takes  out  all  the  impurities  and 
fatty  matter  from  the  oil,  and  it  will  dry  much  better,  nor 
will  it  have  that  tack  after  drying  that  yon  find  with  own* 


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273 


mon  boiled  oil.  Use  the  proper  quantity  of  dryer  in  mix 
ing  your  paint,  and  a  good  reliable  job  will  be  the  result 
In  car  painting,  I  would  never  recommend  the  use  of  pre- 
pared colors  which  are  ground  in  oil,  as  nine-tenths  of 
such  colors  are  ground  in  a  very  inferior  oil,  and  they  may 
have  been  put  up  for  a  great  length  of  time,  in  which  case 
they  become  fatty  and  invariably  crack.  These  canned 
goods  do  not  improve  with  age  as  lead  and  varnish  do. 
Finishing  colors  should  all  be  ground  in  the  shop,  unless 
special  arrangements  can  be  made  with  manufacturers  to 
prepare  them,  and  the  color  should  be  fresh,  not  over  six 
or  eight  days  old  after  being  mixed  and  open  to  the  air. 
Enough  may  be  prepared  at  a  time  to  complete  the  coating 
on  a  job,  but  when  color  stands  over  a  week,  it  is  not  fit  to 
use  on  first-class  work,  as  it  becomes  lifeless,  and  has  lost 
that  free  working  that  we  find  in  fresh  mixed  colors  ;  such 
color  may,  however,  be  used  upon  a  cheap  class  of  work,  or 
on  trucks,  steps,  etc.,  so  that  nothing  need  be  wasted  in  the 
shop. 

Varnishing. — Three  coats  of  varnish  over  the  color  are 
necessary  on  a  first-class  coach.  The  first  coat  should  be  a 
hard -drying  varnish  put  on  the  flat  color;  the  quick  rub- 
bing that  some  use  I  would  not  recommend,  but  one  that 
will  dry  in  five  days  (in  good  drying  weather)  sufficently 
hard  to  rub,  is  the  best  for  durability.  After  striping  and 
ornamenting  the  car,  and  when  thoroughly  washed,  give  a 
coat  of  medium  drying  varnish,  let  this  stand  eight  days; 
then  rub  lightly  with  curled  hair  or  fine  pumice-stone,  and 
apply  the  finishing  coat,  which  is  "wearing  body; "  this  will 
dry  hard  in  about  ten  days,  after  which  the  car  may  be  run 
out  of  the  shop.  It  should  then  be  washed  with  cold  water 
and  a  soft  brush,  and  it  is  then  ready  for  the  road.  In  var- 
nishing, many  will  apply  the  varnish  as  heavy  as  they  can 
possibly  make  it  lie,  when,  as  a  consequence,  it  flows  over 
and  runs,  or  sags  down  in  ridges,  and  of  course  does  not 
harden  properly;  this  also  leaves  substance  for  the  weather 
to  act  on.  It  is  better  to  get  just  enough  on  at  a  coat 
to  make  a  good  even  coating  which  will  flow  out  smooth, 
and  this  will  dry  hard,  and  will  certainly  wear  better  than 
the  coat  that  is  piled  on  heavy. 

Varnishing,  we  claim,  can  b*  overdone,  some  painters' 


274 


THE  HOME  MECHANIC. 


opinions  to  the  contrary.  We  have  heard  of  those  who 
put  two  and  a  half  gallons  on  the  body  of  a  fifty-foot  car 
at  one  application,  and  we  have  also  listened  to  the  decla- 
ration made  by  a  member  of  the  craft,  that  he  put  two 
gallons  on  the  body  of  a  locomotive  tank.  Such  things 
are  perhaps  possible,  and  may  have  been  done,  but  if  so, 
we  know  that  the  work  never  stood  as  well  as  it  would  if 
done  with  one-half  the  quantity  to  a  coat.  In  varnishing 
a  car, care  should  be  taken  to  have  the  surface  clean ;  water 
never  injures  paint  where  it  is  used  for  washing,  and  a 
proper  attention  to  cleanliness  in  this  respect,  and  in  the 
care  of  brushes  used  for  varnishing,  will  insure  you  a 
good-looking  job. 

Suggestions  on  Regulation  of  the  Shop.— Perhaps 
your  shop  facilities  for  doing  work  are  none  of  the  best, 
but  do  the  best  you  can  with  what  you  have;  select,  if  pos- 
sible, a  still,  dry  day  for  varnishing,  especially  for  the  fin- 
ishing coat.  Keep  your  shop  at  an  even  temperature, 
avoid  cold  draughts  on  the  car  from  doors  and  w  indows, 
wet  the  floor  only  just  sufficient  to  lay  the  dust,  for  if  too 
wet,  the  dampness  arising  will  have  a  tendency  to  destroy 
the  luster  of  your  varnish.  Of  course,  we  cannot  always 
do  varnishing  to  our  perfect  satisfaction,  especially  where 
there  are  twenty-five  or  thirty  men  at  work  in  an  open 
shop,  and  six  or  eight  cars  are  under  the  process  of  paint- 
ing, when  more  or  less  dirt  is  sure  to  get  on  the  work. 

A  suggestion  might  here  be  made  to  railroad  managers, 
which  is,  that  no  paint-shop  is  complete  where  the  entire 
process  of  painting  and  finishing  a  car  has  to  be  done  in 
one  open  shop.  A  paint-shop  should  be  made  to  shut  off 
in  sections  by  sliding  doors,  one  part  of  the  shop  being 
used  exclusively  for  striping  and  varnishing.  I  know 
from  experience  that  nine-tenths  of  the  railroad  paint- 
shops  are  deficient  in  this  particular,  and  still  we  are  ex- 
pected to  turn  out  a  clean  job,  no  matter  what  difficul- 
ties we  are  compelled  to  labor  under.  Many  further  hints 
might  be  given  in  regard  to  this  matter  of  shop  facilities 
and  conveniences,  but  as  it  is  not  here  my  object  to 
argue  the  point,  I  leave  it  with  this  brief  mention. 

Proper  Care  of  Oars.  — In  regard  to  the  care  of  a  car 
after  it  has  left  the  shop,  I  think  more  attention  should  be 


THE  HOME  MECHANIC. 


275 


given  to  this  than  is  done  on  many  roads*  The  car  should 
not  be  allowed  to  run  until  it  is  past  remedy,  and  the  dirt 
and  smoke  become  imbedded  in  the  varnish,  actually  form- 
ing a  part  of  the  coating,  so  that  when  you  undertake  tc 
clean  the  car  you  must  use  soda  or  soap  strong  enough  to 
cut  the  varnish  before  you  succeed  in  removing  the  dirt. 
Oars  should  be  washed  well  with  a  brush  and  water  at  the 
end  of  every  trip;  this  only  will  obviate  the  difficulty,  and 
these  repeated  washings  will  harden  the  varnsih  as  well  as 
increase  its  luster. 

We  know  that  in  washing  a  car,  where  soap  is  required 
to  remove  the  dirt  and  smoke,  it  is  almost  impossible  to 
get  the  soap  washed  off  clean,  and  if  it  is  not,  the  hot  sun 
and  rain  will  act  on  the  varnish  and  very  soon  destroy  it 

Cars  should  be  taken  in  and  revarnished  at  least  once  in 
twelve  months  ;  and  if  done  once  in  eight  months,  it  is 
better  for  them,  and  they  will  require  only  one  coat;  but 
where  they  run  one  year  they  will  most  generally  need 
two  coats.  Those  varnished  during  the  hot  months  will 
not  stand  as  well  as  if  done  at  any  other  time.  Painting 
done  in  extreme  cold  weather,  or  in  a  cold  shop,  is  more 
liable  to  crack  than  if  done  in  warm  weather. 

Paint  dried  in  the  shop  where  there  is  a  draught  of  dry 
air  passing  through  it,  will  stand  better  than  that  dried  by 
artificial  heat;  and  you  will  find,  by  giving  it  your  atten- 
tion, that  work  which  has  failed  to  stand,  and  that  cracked 
or  scaled,  was  invariably  painted  in  the  winter  season  or  in 
damp  wet  weather.  I  have  paid  some  attention  to  this 
matter,  and  know  the  result. 

Publishers1  Note. — Haney's  "  Book  of  Scrolls  and  Orna- 
ments" has  many  designs  especially  for  Car  painting,  and 
is  already  adopted  in  several  prominet  shops. 


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